FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY /yzoX \ ■o,., *Q 4* THE HISTORY FORTY CHOIRS BY THOMAS HASTINGS, AUTHOR OF " DISSERTATION ON MUSICAL TASTK," AND VARIWUS MUSICAL AND MISCELLANEOUS PUBLICATIONS. M History is Philosophy tcachiug by example." NEW YORK: MASON BROTHERS, 23 PARK ROW. 1851. Entered, according to Act of Congress, in the year 1853, by MASON BROTHERS, In the Clerk's Office of the District Court for the Southern District of New York. STJCHBOXXi'fc.O BY 1 HIVXET) B"¥ THOMAS B. SMITH, JOHN A. GRAY. 216 William Street, N. Y. 97 Cliff St. N. Y. r t i a 1 1 . The incidents embraced in the following sketches are substantially true : though varied in detail. The lead- ing object has been to afford useful instruction, in such manner as to avoid unpleasant personalities. While no individual will here recognize his own likeness, multi- tudes, it is supposed, may discover characteristic fea- tures, which are not unworthy of their contemplation. Digitized by the Internet Archive in 2012 with funding from Princeton Theological Seminary Library http://archive.org/details/historOOhast CONTENTS i. A MECHANICAL TEACIIER. PAOK Good moral principles— Sociar gatherings— Elementary drilling— Social Feelings for Social Music— Taste and Piety neglected— Music dull and unimpressive 11 II. THE NEW ORGAN AND THE BRASS-BAND TEACHER. An Organ procured for wrong purposes— Miserably played for years — A better player and a brass-band vocalist — Better counsels succeed 1G III. A PASTOR WITHOUT MUSICAL TASTE. Bible instructions not investigated— Injuries resulting— A wicked chorister tolerated 21 IV. A TALENTED GOOD MAN, BUT A NERVOUS TEACHER. Singers troubled with wandering thoughts — Bad philosophy in teaching — Wrong emotions habitually cherished in connection with right convictions of responsi- bility 24 V. CnOIR-SINGING MADE RESPECTABLE. Rev. Mr. R 's excellent management — His argument with Miss M .—A noble example of a volunteer choir — The pastor's attentions remitted — Danger arises — It is successfully met— Defeat of Messrs. Superficial and Flourish — Difficulties readily- obviated CO VI. MERE SKILL UNSUCCESSFUL. Complaint of the indifference of pastor and people to the performances of the choir —The singers are not worshippers— The pastor unconsciously flatters their self- esteem — Wrong ideas of musical efficiency 40 VI CONTENTS. VII. WANT OF CO-OPERATION. PAOK Wrong notions of music — Timid policy — Ungodliness of the singers — Another chor- ister fails to effect a salutary reform, merely because he is not sustained by the church or the pastor 46 VIII. CULTURE AND COMMON SENSE. A good pastor procures a teacher who is conscientious and willing to be directed — Inculcates Scriptural views irrespective of artistic pretensions — Worship in the school, &.C.— Good results 55 IX. A CHOIR REBUKED, OFFENDED AND RECLAIMED. The pastor has no taste for music — Singers left to their own direction — Grow inde- Eendent, and exacting, and ungodly — They are publicly rebuked and offended, ut finally reclaimed — Difficulties might have been prevented 61 OUT OF TUNE. A new church edifice— The choir perpetually out of tune for years— An easy remedy applied— Success XI. UNACCEPTABLE IMPROVEMENTS. Deacon Aimwell— Old-fashioned style— New music produces dissatisfaction— Several changes — Constant uneasiness — Taste of the people should have been consulted. . 71 XII. A BOISTEROUS LEADER. More appetite than taste— Little progess of improvement— Personal influence has a deadening effect upon the music 77 XIII. BAD LOCATION. Want of room— Disadvantages of location— The choir necessarily small, well-disci- plined, well-disposed, but overwhelmed by the untutored voices of the assembly. 81 CONTENTS. Vll XIV. INFLUENCES EIGHT, BUT NOT PERPETUATED. TAUE Rude congregational style happily improved by the good management of a pastor — He dies, and is succeeded by one who leaves the interrst in charge of an ambi- tious artist F3 XV. A FICKLE PEOPLE. Wish to avoid trouble— Parsimony— Impatient of results— Perpetual changes to no good purpose b9 XVI. AX ORGANIST A WOULD-BE LEADER. An excellent choir— Good influences for years— An organ— A whimsica', ambitious player make9 trouble— Assumes the direction— The choir leave, and everything is unstable 92 XVII. BACKWARD AND FORWARD. fpeed without progress — Changes as to tune9 and teachers— Ultimate onward pro- gress 98 XVIII. AN INSTRUCTIVE EXAMPLE FOR CITY CHURCHES. An old church destroyed by the rush of commerce— Good devotional music— How obtained— Its happy experiments and results— Its example not lost 104 XIX. SABBATn CONCERTS. A discussion between two teachers— An artistic choir— Strong Influences of lite mu- sic— Sentimentalism— Discovery of this evil— Reform 109 XX. RIVAL LEADERS RECONCILED. Two rival leaders — Good men and beloved — The difficulty was merely a matter of taste— Condescension in one of the parties — A happy reconciliation— Progress of taste and spirituality 116 XXI. TASTE IMPROVES BUT SLOWLY. An excellent choir, prosper for years— Never duly consulted the taste of the people— A reaction— Long-continued deterioration— Ta9te at length begins at the founda- tion, and builds upward successfully 122 V1U CONTEXTS. XXII. NECESSITY OF GOOD LEADERS. PAGE A good, faithful choir afflicted by a succession of incompetent, eccentric leaders— A remedy at hand 130 XXIII. A CHOIR CONVERTED. The pastor loves art— The choir sing tastefully, and indulge in pleasing sentimental- ity—Too much self-esteem— Another pastor discovers this evil, and sees the re- ward of his faithf id dealing 137 XXIY. A LEADER GETTING BEHIND TIIE AGE. Singing made respectable in consequence of a pastor's appeal— The teacher becomes a happy, successful leader for many years— But at length loses his influence by yielding too little in the new circumstances in which he is placed— He resigns— Difficulties arise for years — He is recalled, but declines the appointment — Ulti- mately a pious organist assumes the direction with new success — The people learn the necessity of lending their co-operation 143 XXV. A PEEP BEHIND THE CURTAIN. A rude choir of ungodly singers— Election returns mingle with responses in prayer— A complaint— A reprimand— Nothing more 150 XXVI. OLD FOLKS YS. YOUNG. Patent Notes — General ignorance of Notation — Old and young members of the choir at strife : the one against innovations, the other in favor of progress— Rival schools — A friendly adviser— He fails to produce an adjustment — The meeting for the purpose grows clamorous— He makes a tender, solemn appeal, and retires—This proves effectual 153 XXVII. DIFFICULTIES IN A CITY CHOIR. Unfavorable circumstances of a general nature— Various methods which are unsuc- cessful—Several scenes in illustration— A happy permanent change— How effected 160 XXVIII. A TALENTED, BUT IMMORAL CHORISTER. l * Punching" music— The violin— Falling from the pitch— A talented leader becomes vicious and hypocritical— Makes trouble — Finally lcavos In disgrace 169 CONTEXTS. IX XXIX. FUN AT SINGING SCHOOLS. MM "Foreign composers" discarded — Singular publications — Singing achoola for amuse- ment — Merriment, with little progress— Ultimate reform 174 XXX. OLD TUXES VS. NEW. Complaints against new tunes— A discussion— Pastoral reproof— A committee to consult with the leader— Wise and kind treatment— The second interview termi- nates all difficulty 181 XXXI. MAL- ADAPTATIONS. Secular songs to sacred words— The device displeases— Ultimate disgust— Popular melodies without secular associations — Their great success 191 XXXII. DESPISING CULTIVATION. A clergyman, physician, and lawyer, entertain illiberal prejudices — Their example of neglect is followed — Protracted ill consequences 196 XXXIII. A THEATRICAL SOPRANO SINGER. Splendid church edifice — Pecuniary liabilities — An unpopular pastor — A popular choir — A distinguished soprano excites attention — House crowded— Pews sold — Singing declines— Another pas.or with popular attractions— Music neglected— Reasons 200 XXXIV & XXXV. RIVALRY BETWEEN TWO CHORISTERS. Causes of rivalry— Promote industry and artistic success, but hinder the progress of real taste— Lead to barrenness in spirituality — The evil discovered and prevented by a cultivation of brotherly love — Union rehearsals — Pleasing results 206 XXXVI. A DEACON AFRAID OF THE EXHIBITION OF TRUTH. The pa9tor holds an argument with his deacon on the claims of church music — He will preach on the subject— The deacon thinks it unadvisable — The pastor re- deems his pledge — Satisfactory results 209 X CONTENTS. XXXVII. TACT AT CONCEALING BLUNDERS. FADE Blunders in singing need not always be exposed— Anecdotes in illustration — Chor- isters should be supplied with a list of hymns by the clergyman on all occasions of public worship 215 XXXVIII. • "bought OFF." Industrious training — A fine volunteer choir — Singers bought off to supply deficien- cies in other choirs— Singing declines— The chorister complains that all his pupils are mercenary — He resigns the situation 218 XXXIX. THE MISTAKE OF AN EXCELLENT LEADER. Gratuitous training and direction of a choir — L T nbounded influence of the leader — The people gain none of his practical wisdom — After ill health has disabled him, he discovers the sad influences of this omission 222 XL. A BRIGHT EXAMPLE. Examples of success afford less incident than those of an opposite nature — It must not be inferred that such examples have been few— Many similar to the one here described— A pastor with a small amount of musical knowledge, taking the Bible for his guide, easily secures right influences 225 CONCLUSION. Considerations suggested by the preceding sketches 229 A MECHANICAL TEACHER. " That shunning faults one quiet tenor keep, We cannot blame indeed, but we may sleep."— Popk. The large choir of the old Church in the flourishing town of A , embraced a few individuals who were guided by re- ligious considerations. The performances were above medi- ocrity in point of skill, but they were deficient in animation and spirituality. The rhythm, the harmony, and the melody, gave evidence of much practice, and the selection of tunes was seldom offensive to good taste. Still the music was wanting in character. It was dull. It moved heavily. It was destitute of variety, and deficient in pathos and solemnity. It exerted in time of worship but little influence either, upon the singers or upon the congregation. The causes of this failure may be easily explained. The choir in earlier years had several teachers that knew but little, and charged but little for their services. Subsequently they were trained from time to time by a teacher who, though su- perior in some respects to his predecessors, was a rude mechan- ist in art. He was a real plodder, a mere journeyman in sol- misation. "When his pupils had learned to read plain music, and to sing it with tolerable accuracy, his task was accomplished. He could pretend to nothing more. This teacher, however, had 12 A MECHANICAL TEACHER. been recommended to the choir as a man of skill. His charges were reasonable, and his morals correct. Those 'who had more taste would demand a greater compensation for their labors. Schools were designed for novices in music. Great refinement was not necessary, and singers might u acquire taste without so much teaching." Such was the reasoning employed on the sub- ject ; but the secret was, the singers had a greater love for the social pleasures of a school, than for sound improvement. The teacher was a companionable man, and not very exacting in his requirements. Consequently he was just the person for them, The schools were virtually social gatherings. They brought together under pleasant circumstances, the young people of the village. The latter would listen politely to what he thought fit to say, and give for the moment, some attention to the practical exercises, but the details were not treasured in me- mory. They were treated like formalities, which might well be forgotten. In the midst of every evening there would be a recess for free and lively conversation, such as might be wit- nessed at a social party. There was no absolute rudeness on these occasions. But amusing incidents would occur, and feats of comicality be performed, all tending to promote merriment and hilarity. Had these gatherings been designed for the practice of social music, they would have been in character ; for how are we to cultivate the secular style without the indulgence of correspond- ing sentimentalities ? The man who would practice a martial song must carry his thoughts into the tented field, and the man who would sing a M merry ballad or catch," must enter fully into the mirth of what he is practising. This is right. It is in accordance with the teachings of art. But to indulge such thoughts and feelings in connection with music intended for the purposes of religious worship, would be incongruous and in- A MECHANICAL TEACHER 13 appropriate. It would be as contrary to the demands of art, as to the interests of religion. The choir never thought of this distinction, but they lost much through the habitual violation of it. The tunes which had been practiced under such circum- stances, were far from awakening hallowed associations. Those of the choir who did not claim to be worshippers, felt at church a loss of interest which they could not understand. To them the scene was so unlike that of the practice-room, as to give impressions of melancholy. The rest of the singers had to con- tend with thoughts and feelings of worldliness, which the music by the power of association was perpetually bringing to mind. So long, so habitually, and so intimately had scenes of pleas- antry and merriment been connected with the practice of that music in schools and rehearsals, that no effort of the mind could wholly dissociate them in the time of worship. The trouble on such occasions was naturally referred to a special attack of the adversary of souls. But that evil personage had previously accomplished his work in the practice-room, and might now have been attending to other matters. Temptation, so to speak, had been wrought into the music itself. It had become a spe- cies of mechanism which would work without his special bidding. The cause here assigned might alone suffice to account for the failure of the music. But there was another which was equally efficient. All the training for a course of years, we have seen was elementary. If taste is to be cultivated, the mind must be allowed occasionally to dwell on aesthetic consid- erations, and give itself up to emotional influences. This con- dition is indispensable. But it was unknown and disregarded ; hence the uninterrupted process of drilling formed literally a systematic hinderance to the progress of taste. Necessary as drilling is in its proper place, it can do no more towards secur- ing musical expression, than chattering over the declensions 14 A MECHANICAL TEACHER. and conjugations of syntax can towards perfecting a taste for belles lettres. A similar remark may also be made in reference to the spirit of praise. This spirit can never be acquired by an exclusive attention to artistic observances. These are not without their importance. The man who would become a good timeist must be tasked with rhythmical exercises. He who would improve his voice, must be thoroughly trained in tone and intonation ; and he who would learn to read music with fluency, must occupy his mind with scales and intervals, and the entire catalogue of musical characters. If all this is to be done thoroughly, the mind must for a time be abstracted from other considerations. But if the pupils are faithful, the ends of drilling will soon in a measure be accomplished. Reading and the rules of style will become familiar. The mind can then be liberated. It can be set free, at least occasionally, from the entanglements of manner, and be allowed to indulge in religious reflections. This is indispensable. But the members of the choir, as we have seen, were not studious. They cherished no adequate feelings of responsibil- ity. Their object was amusement. The lessons were evils, to be tolerated and forgotten. Reading continued to be a difficult exercise, and the plainest rudiments of style were seldom fully mastered. Elementary exercises, therefore, were perpetuated. There was no progress from year to year. The drillings were as monotonous and as constant as the operations of a tread-mill, and about as interesting. Still they claimed sufficient attention to embarrass and pre-occupy the mind. Devotion requires its votaries to fix their thoughts intently upon spiritual objects. The teacher exerted himself from year to year to confine the mind to musical rules. His entire efforts were in this direction. No other training was familiar to him, and he knew the neces- A MECHANICAL TEACHER. lo sity of no other. No wonder, therefore, that in connection with great dulness of manner, there should have been such a decided and such a constant want of emotional efficiency. The adverse influences were not confined to the choir. The music excited but little attention. The hymns were not dis- tinctly uttered. The hymn-books would lie unopened, or be regarded in a listless manner. The people did not understand their duty. They were not well informed as to the nature of praise. They had formed their estimate of its utility, not by searching the Scriptures, but by taking counsel of the' traditions of men, in connection with their own defective experience. The music was said to be good. But there was little in the perform- ances which could please the taste or kindle the feelings of de- votion. There were no strifes or divisions among the singers. They plodded on in their dulness from year to year, with un- disturbed unanimity. There was no ambition to excel. They were seldom severely tasked. They had sufficient accommoda- tions in the choir for all who might join them. What could the tempter have gained by exciting disturbances in such a choir ? Dull, uninteresting, formal offerings of praise might be more to his purpose than excitements, which would awaken discussion. But should a truly consecrated spirit begin to show itself, there would soon be trouble. The adversary would bestir himself. The confirmed influence of wrong mo- tives, wrong teaching, wrong practice, and bad results, would be altogether in his favor. Reform under such circumstances would be a herculean un- dertaking. It would require time, and effort, and patience, and self-denying perseverance. Yet, in how many congregations of the land do we witness this exact state of things ! A careful investigation, in regard to the office of praise among Christian worshippers, would no doubt produce fearful revelations. II THE NEW ORGAN AND THE BRASS-BAND TEACHER. " Friend, quoth the sage, that fine machine contains Exacter numbers and diviner strains : But yet to wake them, rouse them, and inspire, Asks a fine finger and a touch of fire."— Cawtuorne. The organ, rightly employed, is a fine accompanying instru- ment. Nothing can equal it. Its immense harmonic resources, and its countless varieties of tone, place it at the head of all instruments for the use of the church. An instrument of such extensive powers, however, should not be intrusted to the guid- ance of unskilful hands. Some years ago, the good people in a certain parish in New England found great difficulty in sustaining their singing. There was so little talent in the choir and so little taste in the congre- gation, that every effort towards improvement had been inef- fectual. In this dilemma, the parish thought it advisable to procure an organ. The instrument would prove an object of attraction. It would diffuse taste among the people. It would give facility to vocal culture ; and, in short, it would perform mechanically, they imagined, almost everything desirable in this department of public worship. The difficulty of securing a good player did not then occur to them. If only the purchase- money could be raised, and the instrument be procured, their THE NEW ORGAN. 17 anxieties would be at an end. The object was accomplished. The builder in due time put up the organ, and " showed off" in commonplace flourishes its various stops and combinations. The impression was delightful, and the people were satisfied with their purchase. it was now time to look for a player. The first one who of- fered was " a natural musician." He knew nothing of rules, but depended wholly upon his ear. He had indeed a staff, but it was a wooden one, a veritable walking-stick, supplied with significant notches and curvatures, such as would remind you of the rude original of the music-staff of modern days. By the use of this staff he had managed to play without other assist- ance. This, though the man was no antiquarian, was going back to the beginning of things. But the onward progress was slow. The organ groaned under its hard treatment, and the people responded till the seat of the executant was vacated. The next performer had but a slight knowledge of musical characters. He was a perfect smatterer. At some former time, he had taken six or eight lessons of a distinguished master. He could now, by the closest attention, sustain the air and bass of so plain a tune as Marlow, filling up the intermediate parts in the score according to his own fancy or convenience. But such playing ! The jargon was intolerable. Yet, what was to be done ? The young man had volunteered his services. He be- longed to an influential family, and expected in due time, no doubt, to become a distinguished player. Happily for the choir and congregation, he soon changed his mind, and took passage in a steamer for the South. He was succeeded by a young school girl, who had been taught to play songs and waltzes on the piano-forte. She had not sought the situation, but took her seat very modestly after many pressing solicitations. Of course, she knew nothing of 18 THE NEW ORGAN harmony. She did her best to give satisfaction. But the organ would often interfere with and chafe the singers ; and her touch was the energetic staccato stroke of the pianist, producing such perpetual puffs and wheezes and rattlings of the keys, as if the instrument had caught the asthma ! Next in train came a gentleman who had some knowledge of harmony ; but his touches were rude and awkward, and he knew little of vocal effect, and was unacquainted with the rules which should regulate an accompaniment. However, as he could manage to keep the " machine upon the right track," some improvement might be anticipated. Many of the choir who had left in discouragement began to return. Their num- bers increased. It was a pleasant thing for untutored voices to go up to the organ, and be unwittingly guided by its dictations. But as the music was beginning slowly to improve, the organist was called to another situation on a small salary. Several changes ensued, which were less noticeable. One player knew so little of the stops as to produce bad combina- tions. Another had a great abhorrenee of interludes, chiefly, as was supposed, because he was deficient in invention. A third would play such merry voluntaries, as were ill in keeping with the solemnities of the place ; and a fourth was irregular and irreverent in his deportment. He was evidently of the tribe of Tobiah and Sanballat. But at length there came to reside m the village a foreigner, who, though ignorant of Am- erican music, was well acquainted with the organ. This, after so many scenes of disquietude, was a joyous event. The man was modest as well as skilful. He was quite willing to be directed. He made no pretensions to vocal music ; but thought there was " at present, some need of instruction." His suggestion was acted upon. The instructor they selected, though not remarkable for vocal talent, had once belonged to AND THE BRASS-BAND TEACHER, 19 the full chorus of an oratorio. Those who are unacquainted with oratorial arrangements, have no idea what an amount of u raw material is worked up" in those massive combinations of voices and instruments. The teacher they engaged was an instructive specimen. His usual employment was to teach brass bands. To give instruction in psalmody was a new thiug to him. He had no particular fancy for it, unless he could be supplied with brazen-throated pupils. He would have them pour forth in no stinted measure. Vocal delivery was with him a matter of no account. He did not understand it. Noise was everything. His manner was loud, boisterous, and irreverent. Such was the teacher. The pupils were pleased with him, and when his school had terminated, he settled in the place, consenting, for a small salary, to act as chorister. The choir lost all their dulness. There was no lack of animation. The moment the organist was ready, every one was on the alert. The instrument would discourse marvellously. The voices were a full match for it. Everything was buoyant and joyous. Plaintive music was regarded as dull and insipid, and when pa- thetic hymns were given out, the singers would find it conve- nient to take bright views of the subject before them, and sound forth in joyous strains. All their music was of the same char- acter, loud and vehement. It was such, however, as the people were inclined to regard with favor. Though it was - ; not par- ticularly devotional," it disappointed no expectations. The ex- perience of the church in this matter had always been deficient. Time had been when its members constituted no inconsiderable portion of the choir. But they never fully apprehended the nature of their position, and not being much benefited, they gradually withdrew, till all the seats were occupied with other incumbents. The latter continued to maintain a grave and be- coming deportment, for in most points they had been religious- 20 THE NEW OEGAJS T . ly educated. But, they were no cynics on week-days. Some of them belonged to a noisy, facetious club, some to cotillion parties, and some, as often as they visited the adjacent city, would be seen at the circus and the theatre. Such was the state of psalmody in that parish. And can it be supposed that the office-work of praise was rightly fulfilled, under such circumstances ? We think not. The most import- ant elements were wanting. The music was virtually instru- mental. The voice said nothing, asked nothing, confessed no- thing. Emotions were inappropriate. There was no commit- ment of soul. The singers were not seriously-minded. The singing was as deficient in manner as in spirit. But an important change was evidently near at hand. Such inappropriate music as we have described could not always be tolerated. Already a want was beginning to be felt, which nothing but Christian principle and Christian influence could fully satisfy. The subject became a matter of calm discussion and inquiry. Better counsels at length prevailed. After so much mismanagement, and ignorance, and misconception, and culpable indifference, the true foundations of religious music were permanently laid. Intelligence and piety assumed the direction. The organ then became a different instrument. It was no longer the chief object of attention, but a pleasing aux- iliary to the voice of humble, intelligent, heart-felt praise. It was then seen by that people that such an instrument should not be procured without sufficient reason, or be confided to the charge of an incompetent organist. It was seen also, that church-music is one of those interests which should be high- ly prized and perpetually cherished, and that measures for its improvement should never be adopted without some knowl- edge of their practical tendency. These important lessons will long be remembered. III. A PASTOR WITHOUT MUSICAL TASTE- « 'What saith the Scripture ?"— Rom. 4 : 3.— Gal. 4 : 30. " The matter has not been so considered," said one, in ter- minating an animated conversation. Not so considered ! But how ought it to be considered ? That was the real question at issue. The individual referred to was a talented young clergy- man, who, without mature reflection, thus disposed of the scrip- tural argument against systematic formalism, in the office of praise. He was " unacquainted with music :" and it was not for him to "interfere with existing arrangements." Though evidently hard pressed with the argument he had been hearing, there was no rudeness or discourtesy in his remarks. But the car-bell had rung, and he must be on board ; and so he dismiss- ed the subject by falling back upon public opinion. But there was a peculiar unhappiness in the case. His peo- ple had recently been lectured on the subject, and had been partially aroused to effort. Some of the influential members of the church had taken their seats in the choir. The music, however, was still led by a very ungodly chorister ; because no other person had as yet gained sufficient skill for sustaining the duties of that office. The church might have procured a better leader. They were bound to do so ; and half believed them- selves involved in that obligation. But during the brief period 22 A PASTOR WITHOUT MUSICAL TASTE. of instruction which had been enjoyed, the pastor had been ab- sent, and knew nothing of the considerations which had been presented ; and when the delicate question of a change of chor- ister came before him, he very naturally referred to the practice of other churches ; and thus, at a critical moment, threw the weight of his influence into the wrong side of the scale. Most of the singers were young and inconsiderate. The pious mem- bers of the choir felt grieved and disheartened. Their efforts were beginning to be withdrawn ; and the good impressions which had been left upon the minds of the people were gradu- ally diminished. The young pastor, though he knew it not, had virtually de- cided against the progress of reform ; and this was the reason why the lecturer, accidentally meeting with him in another part of the country, had endeavored to lead him to the maintenance of right views. He reasoned with him from the nature of our holy religion, " God looketh upon the heart." He reasoned from Scripture examples. David did not write the fifty -first Psalm for the promotion of musical effect, but for a deep, heart- broken confession of sin. Paul and Silas, in the depths of a dismal dungeon, were not giving a musical soiree, but pouring out their souls in holy offerings of praise. The songs of heaven, as recorded in the Apocalypse, were not in character like mu- sical interludes, but rapturous outbursts of holy joy, in view of certain wonderful events and transactions. He reasoned from the definition of the word sing contained in the Scripture precepts. It there conveys the idea of melodious verbal utter- ance. Musical history establishes this definition. Such an ut- terance in a solemn act of worship, should never be merely art- istic. And finally, he reasoned from precepts and illustrations given by the Apostle Paul,* who insists that singers are bound * See 1 Corinth. 14 : 19, He would wait a little season, till matters should become ripe for another disclosure ; and then, at the close of another ingenuous, kind-hearted appeal, notify the choir of his purpose of leaving them. The music continued rapidly to decline : and as the seemed to : _ the circumstance, the co:._ _ sua ::on of the real cause. Manv of th — not in the - Their re- gret was sincere, and the people naturally sympathized them. At length, on a favorable _ when the rehearsal from some cause had been uncommonly pleasant, he again signified to the . - 1 perfect". rsl od their late move- ment from the very evening of its commencement. "The ~ -knew nothing of it. Your co-operation was not needed. A few determined - had leading ~. could easily cause the performar deteriorate without any very apparent design." That there had been such a conspiracy among them he was fully prepared guilty ones quailed b<:: -netrating eye. Their entire mischief stood revealed. Others, too. he said, must have made a similar discovery, and been willing to the design. A_ s» sing blushes around him. Yet his entire manner was calm, dignified, and eon He employed no harsh epithets. He indulged in no innuer. personalities. If the gnfll stood revealed, it was through wn confusion of deportment. He indulged in no feelings of bitterness, 8 far as him- mcerned, he could :. forgive the injury which had been inflicted* They well knew that he had deserved no such treatment from them, and that their entire course had been wrong. They were perfectly aware that ' n w ^l sustained. If some of WANT OF CO-OPERATION". 53 their number had intentionally injured the performances and others had sided with them, they must bear the blame. He had no wish to reproach them. He could bear such treatment. Comparatively speaking, it was not worthy of being named — but they had offended against the majesty of heaven, and he trembled for them, in view of a coming tribunal. He should now leave them to their own direction — but from his inmost soul he pitied their blindness to the solemn responsibilities which were resting upon them. He was in earnest. They saw the tear of compassion standing in his eye, when he besought them as they regarded their eternal interests, to look well to the solemnity of their position. There was weeping among the singers on that occasion. Tears of mingled vexation and ingenuous regret were seen on many a cheek. Even then, had the chorister been sustained by the aid which had been so unsuccessfully solicited, the choir would have been permanently reclaimed. The kindness and magnanimity they had so emphatically abused would easily have subdued their opposition. Already the work had been nearly accomplished single handed. But there was no prospect of help. The idea that " singers are always unmanageable," was too firmly fixed in the public mind for any change of policy. The singers took quiet possession of the field. For awhile they were grave and regular in their deportment. They had disgraced themselves, and were heartily ashamed of the course which had been pursued. But time is a wonderful healer. It was not long before self-justification began to rally. They had " intended no real harm." They had struggled only to regain their former independence — and in this, after all, they " must have managed with a good deal of adroitness." The people were evidently in their favor, and would offer no further inter- ference. Years passed on with little variety of incident. An 54 WANT OF CO-OPERATION. outward reform had been established — but the songs of Zion, so far, at least, as the choir were concerned, continued to be an empty sound, and an unmeaning ceremony. How evident it is from the preceding sketch, that the praises of the sanctuary need the active encouragement and co-opera- tion of the church and pastor ! If talent and taste are wanting for such a purpose, it should be remembered that even this de- ficiency may be supplied by a little care and industry. For all the purposes here required, the gifts of Nature have been sufficiently bountiful. Nor is it true that "singers will be always unmanageable." Let them be rightly trained in spirit, as well as in manner, and the force of that proverb will soon be done away. VIII. CULTURE AXD COMIOS SEXSE. * Occasion tells him what to do." New towns in some of the Western States have sprung up with a rapidity almost magical. Such at least is the impression they make upon the occasional visitor. Amid the foot-prints of a lone wilderness, you discover perhaps a few rude hamlets on either side of some noble stream, bridged by huge unhewn timbers and loose planks ; but soon you behold there a place of commerce, of industry, of learning and refinement, till it becomes one of the most important locations in the surround- ing territory. Religious institutions will sometimes keep pace with the teeming population. The town of F , was one of those favored places. A church was easily formed, and placed under the care of a faith- ful pastor. He laid a good foundation for his successors to build upon, and was called into another field. The congrega- tion had greatly prospered under his ministry, and the town had acquired a dense population. The second pastor was equal- ly faithful, and a man of greater learning and refinement. Though fond of music, he was an indifferent singer. He knew little of the rules of the art, and still less of the unfortunate maxims respecting it which have operated so perniciously upon 56 CULTURE AND COMMON SENSE. the public mind. He thought for himself, and with the Bible open before him, he discovered that the office of praise was not well sustained. Something therefore was to be done. The idea that this was no concern of his never occurred to him. His mind was unsophisticated. Preaching, exhortation, prayer and praise, all religious exercises established by the same au- thority, lie equally under the eye of the spiritual watchman ; and why should he treat any one of them with disregard? Still, he would not act precipitately. " Taste," he said, " is not a plant of rapid growth. Even ill-habits may be too sud- denly invaded. The people need information." He procured with difficulty a skilful teacher ; and found no obstacle in the way of establishing a school. Few teachers at that time were distinguished for skill, and the numbers were still smaller who gave decided evidence of piety. The individ- ual now employed, though not a professor of religion, was a man of tried morals. He was decidedly conscientious. True, he was an artist ; and music, as one of the arts, might be taught like painting and sculpture, irrespective of moral or religious considerations. But the demands of psalmody are peculiar. " Words of the most solemn nature are to be taken in hand," said the pastor, " and we must treat them with becoming rev- erence." " It is not enough merely to acquire a knowledge of music ; we must cultivate the true spirit of praise." The teacher saw at a glance the importance of this distinction. He felt embarrassed. The pastor was right ; but what was to be done ? What could an unconverted man do towards promot- ing a heart-felt spirit of praise 1 A German pantheist would have readily excused himself from such responsibilities. " God is in art," he would say, " and he who successfully devotes himself to art, must of neces- sity be a true worshipper." But the teacher had never imag- CULTURE AND COMMON SENSE. 57 ined such a species of idolatry. His mind had never been mis- led by " philosophy falsely so called." He was troubled. He ought to have been troubled. Yet he saw certain things which appeared practicable. His own deportment would be uniform- ly grave. He would preserve the strictest order among his pupils. Sacred subjects would always be treated with rever- ence. Exercises in vocal delivery would generally be founded in unimportant or hackneyed stanzas ; and where stanzas of a more solemn nature were to be taken in hand, he would be careful not to load them with artistic associations. Here was an essential point gained. Some teachers would here have accused him of needless scru- pulosity. But he was too well educated not to understand the important bearings of such a course. Right mental associations are important in every department of music ; and more espe- cially so where moral and religious interests are involved. The school greatly prospered. It was soon joined by several professors of religion, while others became frequent visitors. The exercises of the evening were often opened or closed with prayer. Still the training was incomplete. Another element was wanting. Many observed such an improvement in the manner of teaching as to be greatly pleased. They saw not that anything further could be needed. Even the pastor seem- ed satisfied. Not so the teacher. He saw distinctly that if singers are to become actual worshippers at church, they must learn at school how to fix their minds unwaveringly upon di- vine things. This principle, so commonly overlooked by the best of men, stood out before him in strong relief, as an inevit- able inference from the premises which the pastor had supplied. But he was in a dilemma. To speak of the principle without reducing it to practice, would be merely to advertise his own deficiencies. Yet, to pretend even in song to be a personal 58 CULTURE AND COMMON SENSE. worshipper, would be inconsistent for an unconverted man. It would be mere hypocrisy. He could not think of it for a mo- ment. The pastor while visiting the school, would sometimes speak of the spirit of praise. He would kindly caution the pupils against the usual practice of singing sacred words in an unmean- ing manner. The Master of Assemblies would never accept of lip-service. It would be offensive to him. " How, for ex- ample," said he, " can singers in the practice-room use such words as those of the hundred and third Psalm, and put forth no real expressions of a grateful heart." In his last remark he was a little too fast, for practice and criticism are sometimes necessary in connection with such words, and the mind cannot attend profitably to drilling and devotion at the same moment. This, through the respectful suggestion of the teacher, he readi- ly perceived, though some good men are found to make it a stumbling-block through life. This is always unfortunate, for when singers are exhorted to perform impracticabilities, they are strongly tempted to neglect duties that are practicable. But again, it occurred to the pastor that there might be oc- casional exercises of praise in the school. Why should not real praise be offered there as well as earnest prayer 1 The suggestion was a sensible relief to the teacher, for it would vir- tually supply what was yet wanting in his own course of in- structions. The pastor did not fully apprehend the importance of the measure proposed. Nor did it cost him much time or effort. Occasionally dropping in while on his way to some ap- pointment, he would request before leaving, that a particular hymn might be sung, some of the lines of which, he would recite in a tone of devotional feeling which told volumes on the solemnity of sacred praise. There was then no drilling, because the mind was understood to assume the devotional attitude. CULTURE AND COMMON SENSE. 59 The brief exercise was often attended with deep solemnity. Those were golden moments. They were full of instruction. They were of great use to the pupils, and to the anxious teach- er. The pastor enjoyed them. They refreshed his spirit, and better fitted him for the subsequent labors of the evening. These little visits threw a flood of light upon practical distinctions which had been so long disregarded. They were just what the pupils needed to fit them for the holy solemnities of public wor- ship. Upon many hearts they left an indelible impression, and the teacher himself in after years would refer to them as among the instrumentalities which ultimately led to his own conver- sion. A pleasing work of grace ensued. Several of the pupils whose hearts were put in tune by sweeter breathings than those of human minstrelsy, took great delight in exercises of praise* The precious influence seemed to pervade the choir on the Sab- bath, and reach the hearts of the congregation. It was no tran- sient excitement, such as arises from the gratification of taste. Mere musical impressions have sometimes been mistaken for better things. But here, the great themes of salvation were rendered doubly impressive by the pleasing, heart-felt, consen- taneous utterances which they thus received. The singing at church had ceased to be an unmeaning ceremony. It was not a mere preparative to devotion. It was "devotion itself," breathing from heart to heart, through the solemn assembly. The pastor always regarded that school as greatly instru- mental in the promotion of the revival. Soon after its termi- nation, he was called to other fields of labor. The real import- ance of the peculiarities of that school was not understood either by pastor or people. Other counsels, therefore, have occa- sionally prevailed. But the influence of that school is still vis- ible now, after the lapse of thirty years. The singing for the 60 CULTUEE AND COMMON SENSE. most part has been impressive, and there has been a remark- able freedom from those troubles which so often arise where taste has excluded spirituality. Taste itself has not been under- valued. No limits have been assigned to the amount of skill, or to the increase of refinement. The great problem has been to secure right musical culture in connection with a right spirit. The example of successful effort was not lost upon the surround- ing churches. Here was an instructive experiment. A small measure of musical talent in the ministry turned to the best account. This was effected, not by superior wisdom or foresight, but by fol- lowing plain common sense views of duty, obtained directly from the teachings of inspiration. No doubt ministerial labors are sufficiently abundant and severe. But here was an exam- ple of effort so bestowed as to prove a mitigation of ministerial care, and a rich solace for mental fatigue and bodily prostration. Such efforts may generally be put forth without embarrass- ment, and by the blessing of God they will not be in vain. IX A CHOIR REBUKED, OFFEXDED AXD RECLAIMED ''Music hath charms alone for peaceful minds."— Anon. In the large congregation over which the Rev. Doctor Oldman presided, the power of influence in minor things was about equally divided between pastor and people. Each of the par- ties was in the habit of relinquishing certain interests or priv- ileges for the purpose of securing others which were more esteemed. The habit sometimes extended to matters of much importance. One of the things which the Doctor relinquished in this style of accommodation, was church music. He was no singer. He had no ear for music. He cared little for the art. " Music," said he, " may be useful in its place, but my people will of course never become artists. If they so manage as to satisfy themselves, my purpose will be answered." The interests of the choir had been so long confided to the young, that the latter had come to look upon the privilege as a prescriptive right. They were wont to employ their own teacher, expecting the trustees to foot the bill. They would appoint their own chorister. Instruction, too, was often limited and superficial, confined chiefly to their own numbers, with little benefit to the people at large. This for a long time had been considered their privilege. But the tone of independence was increasing. They knew their own power. Their services were indispensable ; for no other persons had acquired any amount of musical skill. All the wants of the choir, therefore, real or imaginary, must be amply supplied. They must have an in- creasing variety of books, nicely bound and lettered. They must have seats, and cushions, and stands, and chairs, and cur- tains, and lamps, and footstools, all in the nicest order. They must be allowed to give concerts at their own convenience ; and no other appointment must be suffered to conflict with theirs. This at length began to excite feelings of dissatisfaction among the people. The singers were quite too exacting. They claimed everything. One privilege was left, that of fault-finding. The congregation could censure their prodigality in expenditures, and complain of the character of their performances. This privilege was freely exercised. The singers resented such treatment, and thus the dissatisfaction became mutual. The music, without any artistic deterioration, was gradually losing its power. The violation of social sympathies and feelings is as inconsistent with the pleasures of taste, as with the kindling of devotion. Wor- ship had become formal. Many regretted this state of things. The deacons complained. They perceived no good effects from the singing. It was " a perfect moth" to them. The people could not listen to it with any comfort. It caused their thoughts to wander, and made them out of patience. All sympathy be- tween the parties was at an end. The exercises were sustained by the choir for their own gratification, and endorsed by the people as a useless burden. And what a substitute was this for united, solemn thanksgiv- ing and praise ! Who can compute the amount of injury thus inflicted upon the cause of evangelical piety in that place ! The singers were not worshippers. The church were grieved. Right affections would not come at the bidding of such a choir. OFFENDED AND RECLAIMED. 62 Feelings of penitence, and love, and gratitude, and adoration, were rather repressed than cherished by the performances. The pastor saw the aspect of things. He sympathized with the people, hut was unwilling to oppose the singers. This was a subject with reference to which he had " assumed little respon- sibility." Such difficulties were apt to arise. There was a call for mutual forbearance. As music had no interest to him, he could abstract his attention from it, and feel no interruption. But in the exercises of the desk his uneasiness was often mani- fest. He would unconsciously read the hymn in a drawling manner, as if expecting no benefit from it — and then sit down to busy himself in correcting his MSS., or reading notices till the singing was over. In this course he felt " fully justified." Why should his attention be wasted upon that which he could neither appreciate nor enjoy ? Such a conspicuous example from the pulpit, however, would be likely to find imitators where there was not the same excuse for inattention. The singers understood this demonstration of indifference, and became in their turn inattentive to the Preacher. During the sermon and the prayers they would sometimes be whispering as others had done during the singing. They would turn over the leaves of their music-books, or be scribbling on slips of paper, as if retaliating the slight they had suffered from the desk. This was perfectly natural. It might have been ex- pected. But it surprised the pastor. That the license might have been borrowed from his own example, was an idea which never occurred to him. It was not real praise but the abuse of it, which had rendered him inattentive ; but to the mind of the singers, he had furnished a plausible pretext. " It could not be a sin to imitate their pastor !" Another step in wickedness was not without its results. The singers began to provoke each other to the indulgence of levity 64 and playfulness. The thing was done in plain view of the con- gregation. It was too much. It was insufferable. The pastor felt that he had a duty to do. The singers were intentionally wicked. He would not stoop to converse with them in private. A public sin should be rebuked in public. He could not tamper with such ungodliness. So from the pulpit he suddenly broke forth in terms of severe and merited censure. The singers immediately left their seats. That was a thing of course. The pastor should have expected it, though it took him rather by surprise. Certainly it was his duty to rebuke sin. He had done so with becoming boldness — and here was the result. What next 1 " Must the singers be urged to return to their seats ?" " Not without an acknowledgment of their transgression." No acknowledgment was offered. But there was a resource for the exigency. The old people who could once sing well, but whose voices had miserably decayed through long neglect of practice, must nowi;ake their places in the choir. The experiment, after a sufficient amount of drilling, might have easily succeeded. The necessity of such preparation did not occur to them. They went up, like Sampson of old when his locks were shorn, quite unconscious of the change which had passed upon them. Numbers were respectable ; but O, what singing ! Who could have believed it ! They could scarcely endure their own voices. But, to see the members of the late choir, instead of hanging their heads in mortification, actually amused at the failure of the old people — to see them winking and smiling, at the expense of their betters, in presence of the assembly ; this was more than could be patiently endured. On the next Sabbath came an experiment in congregational singing. This, if the members of the former choir had fully co-operated, might for awhile have given satisfaction. The voices of the people would have been partially harmonized, OFFENDED AND RECLAIMED. 65 there would have been more sympathetic emotion, and more spirituality, in the exercises. But the individuals who had been publicly rebuked for their ungodliness, sat in sullen silence. They were mortified and angry, but not penitent. They were opposed to the arrangement. It greatly disturbed them. They could not foresee where it was to end, or whether they would ever be invited to resume their seats. Some grew discouraged, and absented themselves from church. Others would sit in some retired corner. All refused to sing, in the expectation that the experiment would the sooner fail. There was more real unanimity among the people at this time, than might have been anticipated. There was no open contention. The subject was not deemed of sufficient import- ance to hazard the peace of society. Each party, it was true, had felt aggrieved ; but, while looking for ultimate redress, no- thing could be gained by causing divisions. Both parties, too, were becoming weary of the strife, and longed to see it termi- nated. The singing was bad. Some of the congregation who had no ear for music were satisfied with the change. Some who had neglected their privilege for years, now poured forth such noises as are not easily described. Some would seem to sing from feelings of vexation, and some in self-defence. A few happy spirits, who were destitute of susceptibility, seemed the only ones who enjoyed the singing as a religious exercise. This state of things was dreadful. It must have been dimly appre- hended, or it would not for an hour have been tolerated. There was a great want of information among the people, which no- thing served to supply. After a few weeks' trial, the experiment was abandoned. Congregational singing, without instruction or practice, or effi- cient aid from an instrument, from a select quartet or a vol- untary choir, would scarcely be tolerable at the outset, while it 66 would soon be found to depreciate to the lowest possible level. Before it had thus far declined in the present instance, a con- sultation was held. Matters had been carried too far. Meas- ures had been hasty and premature. To some extent, there had been blame on both sides. The young people were " ashamed of their former wickedness." They had had time for reflection, and would improve in their behavior. They must be persuad- ed to resume their seats. A committee of influential men, who had stood aloof from the difficulties, consented to act as medi- ators. How much they blamed or flattered the singers, or cen- sured or justified the proceedings which had offended them, was not exactly known. The important mission was soon accom- plished, and the young people were restored to their former standing and influence. Though at last victorious in the con- flict, the struggle had been long and unpleasant. They had suffered for their folly, and had deserved to suffer. Now they determined to act with more consideration. The people also had taken an impressive lesson. They would now be more liberal and less censorious. Though they had formerly been but little benefited by the performances of the choir, they had seen the disadvantage of grumbling, and were willing for awhile to forbear. For a few weeks, everything was quiet and in a measure satisfactory. The singing excited some attention. It was thought to be improving. The people spoke well of it, and began somewhat to feel its influence upon their devotions. But power lost by misconduct and regained without penitence was liable to be abused ; and self-government was not a suffi- cient discipline for their youthful minds. Once more, the choir manifested their love for independence, and began to chafe the feelings of the congregation. They were like a bark without a pilot, or a ship without compass or rudder. The uneasiness was increasing, and matters tended toward another crisis. OFFENDED AND RECLAIMED. 67 Just at this period, the good pastor, who was a man of dis- tinguished acquirements, was called to the presidency of a liter- ary institution. His successor. Mr. Youngman, was a clergy- man who loved the praises of Zion, and understood how to rem- edy the evils and to provide for the deficiencies which had so long prevailed. A more unpromising state of things could seldom have been met with, in such a field of labor. But he enter- tained no fears. The singers had the common feelings of hu- mauity. and they had a conscience which could be enlightened and guided. To conciliate their good will and gain their confi- dence, and open the way for suitable instruction and timely ad- monition, he often- attended their weekly rehearsals, mingled his voice in the drilling exercises, offered occasional suggestions, and at stated times led them to the mercy-seat in fervent, affec- tionate prayer. Several members of the church began to fol- low his example. This was something new and unexpected. TTie singers were gratified with this mark of attention. They became orderly, docile, and thoughtful. The pastor listened attentively to the exercises of praise in the churcn, and the choir listened to his preaching and his prayers. Their minds by degrees became open to convictions of duty. They began in some measure to understand the solemn nature of their em- ployment. At a proper time, when things were fully prepared for such a step, he was enabled to bring the subject of praise before his hearers upon the Sabbath, with the happiest success. He manifested such impartiality, such tenderness and candor, and gave such unlooked-for instructions and illustrations, as to convict every one of his hearers of personal delinquency. The preacher made no allusion to scenes which were past. He could not take sides in the matter. But since all had been in the wrong, there was no farther cause of disagreement. Difficul- ties were at an end. The pastor listened with increasing inter- 68 A CHOIR REBUKED. est to the performances of the choir, and the singers listened more closely to him. Many of them became seriously-minded, and several appeared truly penitent. A new influence began to be felt in the assembly. The singing appeared more in keeping with the general solemnities of the place. The style, artistical- ly speaking, was much the same as before ; but feelings had greatly changed. Social sympathies were now united. Unan- imity of feeling in public worship, is as necessary in praise as in prayer. This principle now began to be understood. Praise was comely and delightful. Thenceforward it was regarded as an important duty and a precious privilege. What a pity that the former pastor had so little acquaintance with this subject ! A vast amount of sin and perplexity and vexation might thus have been prevented. X. m OUT OF TUNE. u A little common sense is a tremendous lever for the removal of obstacles."— Anon. A fine church edifice was nearly completed in the new and thriving parish of H , when an adult singing-school was opened for the training of a choir. There was but little musical talent in the place ; yet in a few short months, the pupils were ready to commence operations. Arranging themselves in a single row extending around the three sides of the gallery, as was then the custom, they made a very promising appearance, as to numbers and respectability. But they were utterly un- able to sing in tune. Whatever mu6io might be selected, the same result would follow. The bass would sing a full comma too low. Various expedients were tried to no purpose. Indi- viduals would change their relative position. This was "To change the place, but keep the pain." As all remedies had failed, the evil must be endured. Habits of endurance are often acquired with marvellous facility. Some persons will continue to amuse themselves for six months to- gether, by thrummings upon a crazy instrument which was never in tune for an hour. The ear becomes dull in the pro- cess, and the voice loses all accuracy of intonation. Such was the result in the present instance. The people soon became ac- 70 OUT OF TUNE. customed to the dissonance, and regarded it as a small matter. Of course there was no progress in taste, and skill in execution was rapidly diminishing. One Sabbath, while a chorister was leading, who had barely sufficient knowledge to give the pitch, the choir set off together with two different tunes, one in the major and the other in the minor scale, having no resemblance to each other except in rhythm. The chorister led on from stanza to stanza, uncon- scious of the mistake. Most of the people seemed quiet. But this dissonance was so inexpressibly bad, that one of the good deacons who had once been a singer, could contain himself no longer. " You will do better up there," said he to the choir, " if you all get the same tune." " Sit down, sit down, deacon," cried a voice from the desk, greatly scandalized by such an in terruption. " People would not think so much about the music, if they were worshipping with the Spirit and the understanding." With such unpropitious beginnings, the music in that choir was ultimately placed upon a good footing, and made greatly instrumental in the progress of good taste and sound princi- ples. The difficulty in the intonation had been occasioned by a wrong position of the singers. They were too scattered. When this fact was discovered, the choir by being placed in a body in the end gallery, soon began to sing in tune. The change was delightful. One of the brethren of the church took pains to qualify himself for usefulness in this field of labor. He was a man of some standing, and soon gained the confidence and good-will of the singers. The singing constantly improved, till it became as remarkable for its excellence as it had been for its harshness and rusticity. How important is intelligence in the cultivation of church music ! The difficulty in the arrangement of the choir, whicli operated for years, might have been obviated at once. XI. UNACCEPTABLE IMPROVEMENTS. "Innovation is expedient when it remedies an evil, and safe when men are prepared to receive it." — Noah Webster. The beautiful town of K , surrounded with smiling val- leys and lofty hills, with a small river winding through its en- virons, was sixty years ago an unbroken wilderness. Its first inhabitants were hard laboring agriculturists from New Eng- land. They were not distinguished for learning or information, but were remarkable for their love of religious order, and sound evangelical doctrine. Among the number was the venerable deacon Aimwell, whose memory, notwithstanding some small imperfections which attended him, is still cherished with sincere affection. He had been chosen to office not on account of wealth or worldly wisdom, of which he had little, but on the no- bler ground of his attainments in piety. The church regarded him as having made remarkable progress in the divine life, and for this reason as the fittest person for deacon. Had he not been natu- rally of a modest disposition, this circumstance which could not be hidden from him, might possibly have inflated him with spiritual pride. As it was, that impertinent intruder would sometimes press so vehemently at his door, as with great diffi- culty to be debarred admittance ; and now and then, despite the deacon's efforts, it would contrive to slip in unperceived. 72 UNACCEPTABLE IMPROVEMENTS. Pride, the deacon said, was an evil thing. He loathed it. But Christian dignity was indispensable to one's usefulness, and should always be maintained. He had naturally a good mind. But as his views had never been expanded by education, they were narrow and limited. He knew little of polemic theology beyond the detail of its current technicalities ; but he had a great veneration for sound words, and would watch with solicit- ude the language of every itinerant preacher who officiated. At length the infant church was supplied with a young, talented, and devoted pastor. The deacon was of course his overseer. After church, the sermon was sure to be canvassed. Every novelty of expression would be noticed, and if the pastor was never caught in error, it was no fault of the deacon. The lat- ter, however, was not a suspicious man. He was watchful and punctilious, and when once he had put his foot down, there it must stand, firm as a rock. In the days of his childhood, the deacon had been a passable singer, without a knowledge of rules. He had sung so often the counters to St. Martin's, Aylesbury, Wantage, and other tunes of the sort, that he could never forget them, and if a note was ever changed, it seemed to him almost like altering a pass- age in the Bible. Through the influence of the pastor, a singing-school was es- tablished, which resulted in the formation of a choir. The singers could not read music, but they had committed to mem- ory a class of tunes which were then popular, such as Ocean, Sherborne, Mortality, and Sounding- Joy. These novelties were anything but joyful sounds to the deacon's ear. He would give more for one stanza of St. Martin's than for the whole of them. He was a prudent man. He loved his pastor and was silent ; yet many judged by his sorrowful looks, that the music " was no better than it should be." In this instance their decision UNACCEPTABLE IMPK0VEMEXT3. 73 was not far from the truth. The tunes were poor, and the teaching was superficial. Once in two or three years, instruc- tion would be obtained, barely sufficient to commit a few addi- tional tunes to memory, and bring to mind some of the forgot- ten ones. But as schools were never followed by weekly re- hearsals, memory would soon become treacherous and produce strange combinations. Two very different tunes would thus be temporarily combined, and on one occasion the choir started off at full speed on a quadruple combination. There was then no want of choristers. Four individuals were appointed to lead in rotation. Forgetting their turns, two or more would some- times speak together in naming the tune, and then, if one had given a wrong pitch, another one would rise and correct it. When knowledge was so limited, this was doubtless a good ar- rangement. Still, many sad blunders would occur, and a tune would sometimes sink in forgetfulness at the middle of a stanza. On one occasion, while singing a long hymn, the harmony at the close of every stanza, as a printer might say, u would fall into pi," requiring the pitch to be given anew. At length the chorister, greatly tried with such failures, made his speech to those in the opposite side gallery — ,; Ladies," said he, ;; you lose the pitch. Sing softer, and perhaps you will succeed." They obeyed, but to no purpose. So the rest of the hymn was omitted. Such disasters were discouraging. The deacon re- monstrated. What use was there in singing-schools ? The music was " continually growing worse." Most of the people were of the deacon's mind. So the evils which had been occa- sioned by deficient instruction were now to be remedied by neg- lect. At length a literary institution was established in the place, one of the results of which, was an accession of musical talent. The late selections of psalmody were considered as in bad taste. i 74 UNACCEPTABLE IMPROVEMENTS. The old tunes must be reinstated. The deacon rejoiced prema- turely, for now he was to be more grieved than before. The old tunes had received grammatical corrections and changes in the harmony, which in the progress of refinement had become indispensable. All this in his view was needless innovation. Somebody had done wickedly. The old counters he used to sing with so much delight, could no longer be recognized. An explanation was offered, but it came too late. The deacon had set down his foot, and arguments were of no avail. He was a kind-hearted man. He did not wish to make trouble. But he could not help feeling " unhappy about the singing," and the people at large, when they beheld those sorrowful looks in the deacon's seat, were disposed to decide with him that the choir were in fault. The latter, perceiving no prospect of giving sat- isfaction, concluded to do what seemed to be right, and to be content with pleasing themselves. There was no wrangling, or back-biting. The parties were friends and fellow-worshippers. The choir were conscientious in maintaining their own views, and the people, accustomed to endurance, submitted in a spirit of quiet indifference. A still greater change was at hand. A few families began the study of church music in good earnest, and soon made rapid advances in the art. The choir was remodeled and trained to an unwonted degree of skill in execution. All of a sudden, the style of selections was entirely changed. The step from St. Martin's and Aylesbury, to Denmark, Easter, and the Hallelu- jah Chorus, with psalmody of a corresponding character, was prodigious. No wonder the congregation were in the dim distance behind. The music was " Greek" to them. The sing- ers could enjoy it, because it exercised their skill and improved their talents. But what was this to the worshippers at large 1 Most of them had no knowledge of the art, and cared not to UNACCEPTABLE IMPROVEMENTS. 75 ■witness in the sanctuary, any display of its achievements. But they had learned forbearance. When the performances were inflicted upon them, they endured as if pained with a tooth-ache which would soon be over. But a few who had been better educated, soon began to speak highly of the music, and such commendations served to keep the choir in countenance, while they pressed onward to greater achievements, which would be equally lost upon the mass of worshippers. A question here arises, which is of some practical importance. Why was it, that during this long period, the parties avoided all out-breakings of strife ? One reason was, that the people of the choir and the congregation loved each other, and were dis- posed to make every possible allowance for dissimilarity of views. Another reason was, that the differences were supposed to have their origin in physical Nature. Music was regarded as a natural gift, to be cultivated only by the favored few who should possess the requisite capabilities. To the lest of the world it would become comparatively useless. The choir pitied the deacon and most of the congregation, for remarkable defi- ciencies of ear and voice ; and they on their part, were half per- suaded that the choir had been very patient in view of such infirmities. A third reason was, that from the first, wrong views had been entertained of the practical influence of church music. All that the deacon knew, was. that when it made him " feel good," he liked it : and the people were generally of his mind. But there is a question of still greater interest. Why was it that the music had, at all times, so little influence ? One reason was, that for a term of years it was very poor. If the singers had understood notation, they might have kept up their weekly rehearsals, and given better performances. Another reason was, the people paid no attention to the subject. Though all have sufficient natural gifts for the purpose here contem- 76 UNACCEPTABLE IMPROVEMENTS. plated, these gifts will never be available if wholly neglected. Taste thrives only by practice and observation. But a third reason, and perhaps the most influential one, was, tha.t the choir never properly consulted the actual state of musical conception among the people. In their course of refinement they should have descended to the level of the apprehension of the wor- shippers, and led them onward step by step, just as they could have borne it, and not by such sudden changes, and large gra- dations, as to render themselves continually unintelligible. This kind of condescension is one of the last things that ever strikes the mind of an amateur choir. " The people ought to be pleased with such music as we give them," they are ready to say, " and if they choose to be stupid the fault is their own." This plea might be more to the purpose in concert rooms, where the ob- ject is amusement — but those who lead in public devotion, whether in speech or song, an apostle himself being judge, are bound to commend themselves to the feelings and apprehen- sions of their hearers. We are not saying that condescension should stoop to musical vulgarity. At present, certainly, there can be no such necessity. A large catalogue of current tunes, which are distinguished for chaste simplicity, is before us. We can select from these, such as will best correspond with the habits of the worshippers, and endeavor to sing them in the true manner and spirit of praise. In this way, the whole class of Aimwells will be interested. Then we can lead onward in better selections, so gently, as to carry with us the kind suscep- tibilities of the congregation. Xii. A BOISTEROUS LEADEE. " Rend, with tremendous sound, your ears asunder, With gun, drum, trumpet, blunderbus and thunder." — Pope. The late Mr. K , of precious memory, -was distinguished as a literary man, a philanthropist, and a Christian. His influ- ence was widely extended and beneficial. His private virtues were not less remarkable than his public benefactions. His habits of conversation evinced much versatility of thought and feeling. He was fond of humor and pleasantry ; and at the same time, tenderly alive to objects of sympathy. His emo- tions were very changeable. He could laugh and weep in the compass of a single paragraph, and still maintain a good meas- ure of self-control. His taste for music appears to have been modified by these peculiarities of temperament. His fondness for the art was free from favoritisms and partialities. He had no choice as to composers or executants ; and would be pleased with everything, from the hallowed anthem to the comic song. Like many at the present day, he regarded music of all kinds as essentially beneficial. It was much the same thing to him at church as at a public concert. It was a ;; kind of nerve-soother'' which fitted his mind for devotion. His children inherited his musical notions and habits, without his susceptibility. His second son had a voice of uncommon 78 A BOISTEROUS LEADER. compass and power ; but he had more appetite than taste, and more zeal than discernment. Everything pleased him, from the double chorus of the oratorio down to the songs of the chimney sweep ; and from the grand symphonies of the mas- ters, down to the hurdy-gurdy and the willow-whistle. He was a classical scholar, and pursued music only in hours of relaxa- tion. At length he left the place of his nativity, and settled as a professional man in one of the rising villages " of the great West," which was destined soon to become a large inland city. There was then so little music in the place that he saw no legal objection against lending a helping hand. At his suggestion, the S church procured a powerful organ ; and he volun- teered his services as general director of their music. A man of his standing in community would meet with few obstacles. He soon drew around him a numerous and powerful choir. The singers put on strength, and the organist drew out his stops ; but the voice of the leader was a full match for all. He was not to be overpowered. They were a noble company who occupied that place ; and though their performances were harsh and dissonant, and wanting in expression, the good peo- ple, being neither critics nor amateurs, thought proper to be satisfied with the style. If they could not enjoy the music, it must be owing to their neglect of the art. Schools were estab- lished, and rehearsals and concerts multiplied. The leader had unbounded influence, and everything was left to his manage- ment. The schools were somewhat beneficial to the people, but not to himself. His habits were fixed. To the hints of a teach- er he paid no more attention than was indispensable to the maintenance of mere civility. His father knew more than all the teachers, and what would he have cared for such trifles ! Rehearsals, being under his own control, served to perpetuate A BOISTEBOUti LEADER. 79 the style of the leader. As for his concerts, they were often filled with such incongruities as to be very amusing He would bring together on those occasions, besides his own choir, ballad- singers of ail grades ; and as many sorts of musical instruments as were found of eld at the dedication of Nebuchadnezzar's image. And, generally, he had little concern about specific in- fluences. As amusement was the chief object, one thing was about as important as another. On one occasion, for example, the house was crowded by vil- lagers who were invited to a concert of Sacred Music. A cler- gyman opened the exercises by prayer. Then eame a merry quartet of some ten minutes' length, upon a chest of viols whose squeaking sounds showed less of resin than of flourishes of the bow. Next came a psalm, then an anthem, and then a favorite little Miss must sing a love ditty, and another must accompany her on a harp. Then came a duet on horns, then an insipid bal- lad, followed by the hail-stone-chorus, and by another glee, and another rude quartet of cat-gut. Here was a merry interval of ten minutes. Then, after a complimentary address from the pulpit — " Music hath charms." drc, the second part com- menced with a grand military march with wind instruments, in connection with the tamborine, the triangle, and the bass and kettle drums. Then came several volunteer solos, including one by the director, of stentorian energy ; when, after a glee and another miserable ballad, the exercises closed with the Hal- lelujah chorus and the benediction. Such incongruities in selec- tions for concerts were ordinary occurrences. Such a general course of mismanagement as is here present- ed, would necessarily prove disastrous to the progress of taste. Streams cannot rise above their sources ; and in this case, when they came to the height of the leader's gauge, they stood for years " upon a dead level.*' When the population had increas- 80 A BOISTEliOUS LEADER. ed to the dimensions of a city, other choirs were organized whose performances were effective and devotional. But the choir of this church continued its noisy, tasteless, hum-drum utterances long after the leader disappeared. He left his own impress upon the performances, which will probably continue till the next generation. How important is it that effort should be rightly directed ! Choirs are often drilled when their lead ers are most in fault. XIII. BAD LOCATION. "Give us room that we may dwell." — Kelly. The position and the effective power of singers are things of great importance : they are not sufficiently regarded, either in the erection of edifices or the establishment of choirs. There was a small choir in one of our large cities, that took their sta- tion in a low edifice at the remotest distance from the pulpit. As there was no gallery, four or five short slips near the en- trance of the building had, for the accommodation of the sing- ers, been elevated a few inches above the general level. The choir were amateur performers, who had enjoyed the best advantages of instruction. They practiced much, sung very sweetly at rehearsals, and enjoyed each others society as a hap- py Christian family should do. They sung from principle, and with devotional feeling. Their voices, trained in the parlor, were subdued and polished, rather than strong and effective. But they were exemplary in their deportment, punctual in their attendance, and unwearied in their efforts to please the congre- gation. But there was one point in which they failed. Instead of their being leaders in the exercise, they were led by the people, and nearly overwhelmed by the confused jargon which filled the house. Had their seats been near the desk or been sufficiently elevated, or had their numbers been enlarged, or 4* 82 BAD LOCATION. had they possessed powers which were strongly effective, their services might have been greatly beneficial. But placed as they were, and with such powers as they possessed, they really were of no more service to the congregation than an ordinary pre- centor under the pulpit would have been. The choir were to be pitied rather than blamed. The fault was not their own — and they enjoyed, no doubt, the sweet consciousness of having endeavored to discharge their duty in the fear of God. Cases equally unfortunate have often occurred. Splendid edifices are erected with ample accommodations for the people at large ; while the singers, perhaps, are placed beyond reach- ing distance in the back-ground, or posted aloft in some little niche like a sparrow's nest as to size and convenience. These things ought not so to be. XIV. INFLUENCES RIGHT, BUT NOT PERPETUATED. " And made that music, which was noise before."— Pope. Man has sometimes been regarded by speculative philoso- phers, as a mere "bundle of habits." The theory, of course, is erroneous ; but there are some strange things in human nature which seem strongly to favor it. Virtuous communities, for example, will adhere to certain specific practices, long after their immoral tendency has been discovered. Objects of taste, too, will often continue to be cherished, long after they have proved themselves to be worthless. We see this everywhere in the common affairs of life. But nowhere, perhaps, does the power of habit find a fuller illustration, than in some of the re- ligious assemblies in large cities, where, for more than a century past, the rudest congregational singing has prevailed. The church of K will serve as a specimen. Some thirty years ago, the members of that community had been so long accustomed to this method of conducting the office of praise, as to be with difficulty convinced of its deficiencies. Nor could they be persuaded that any other method might be preferable. Precentors, one after another, in unbroken succession, had lead in front of the desk ; some of them remarkably ignorant, and others no better than they should have been, in manners or morals. But they were fair to look upon, and famous for 84 INFLUENCES RIGHT, vociferation. They might truly have been termed leaders, for the congregation were, in point of time, always at a distance behind them ; some nearer, and others more remote. Usually, at the end of each stanza there was a long pause, in the front ranks, till those in the rear could have time to " bring up," and be ready for another start. Musically speaking, there was neither time, tone, nor tune, in the exercise ; while in reference to language, there was no articulation, accent, emphasis, or ex- pression. The utterance was rough, noisy, drawling, and unin- telligible. Persons sitting side by side, could not understand each other. Could this be' called singing ? Not a single ele- ment of music or poetry was discoverable in the exercise. It was mere discordant noise. Yet with many educated people, this contemptible jargon passed for tolerable music. It was such as they had been long accustomed to hear. The exercise was also considered highly devotional. Such an advantage would certainly atone, they thought, for great defi- ciencies in manner, and go far towards proving the inutility of cultivation. Artistic influences are unfavorable to spirituality. They have often proved its greatest hinderance. They should ever be regarded with Christian vigilance. Thus they reasoned. But let us for a moment fix our eyes upon such an assembly as the one we are describing. What do we see 1 All is not barrenness. A few happy souls appear to enjoy the hymn as it falls in mangled fragrance before them. We will regard these as sincere worshippers, more or less profited by the exercise of their privilege. The rest of the people are lounging or attend- ing to other matters. The sexton and the deacons are disposing of the " odds and ends of things." And now, ere the hymn is half finished, there comes a sort of scoop-net along the seats, fishing for pennies ! This is not a special occurrence. Sabbath after Sabbath the same scene is presented, with little variation. BUT KOT PERPETUATED. 85 Are these the tokens of peculiar devotion 1 What if such things were to be done during the exercise of social prayer 1 Yet the argument in favor of such a rude congregational meth- od, proceeds on the assumption that it is peculiarly devotional. Thirty years ago, as we have said, the method of singing in the church of K was the congregational one. About that period, a pastor was installed over the people, who had been accustomed to regard the office of praise as equally solemn with that of prayer. He was a competent judge of music ; and entertained views of it which were evangelical. To him, the jargon was insupportable. But what could he do ? The peo- ple were so accustomed to it, as to be strongly prejudiced in its favor. They were entirely satisfied. They had no idea of pro- gress ; and were opposed to innovation. He must, therefore, not complain of the existing method, but endeavor gradually to improve it. Of course, the people would not consent to receive instruction. They did not perceive its necessity. The singing was about the same as it had been the last half century, and they would find neither time nor inclination to make it better. All this the discriminating pastor saw at a glance. There could be no use in disturbing prejudices and notions which were of such long standing. But, "wherever there is a will there is a way." He kept his own counsel, and went silently at work, with the expectation of success. Soon there was found, sitting in her own family pew, a few steps from the desk, an excellent soprano singer, whose voice was remarkable at once for sweetness and power. Near by, in the same range, was sitting a parishioner whose well-directed and powerful utterances would cause the very arches to trem- ble. The pastor himself was an excellent singer ; and just be- fore him was a talented precentor. The four individuals were sufficiently fond of music to be often practising together. How 86 INFLUENCES KIGHT, much of this arrangement was purely accidental, or the result of prudent forecast, no one thought to inquire. But here was the advantage of a powerful quartet, leading with irresistible energy, though in an unpretending manner, the voices of the assembly. They labored to good purpose. A gradual improve- ment in the exercises soon became manifest. The people be- came more attentive and more devotional. They advanced in taste and discrimination. Many, no longer satisfied with their own noises, became silent worshippers. Others received pri- vate instruction ; and others still, who had some knowledge in psalmody, improved themselves by careful practice. Then a school was opened, accessible to all who might desire its advan- tages. In this gradual, pleasant way, the manner of singing became so greatly changed, as to excite observation throughout the city, and lead other churches to the adoption of similar ar- rangements. The change had been so apparently incidental, that no one felt displeased ; and prejudices were evidently be- ginning to lose their hold upon the people. And now the congregation seem to have been prepared for instructions from the desk relative to the solemn nature of praise. Such instructions were greatly needed, and no time would have been more favorable. The nature of praise begin- ning to be better appreciated than it ever had been, might now have been easily discriminated from that musical sentimental- ity and artistic emulation, which, in city life, furnish so many temptations and entanglements. Such instructions would have been a safe-guard from surrounding dangers, in the onward course of improvement. But, unhappily, as the dangers were not foreseen, the instructions were withholden. The pastor now found no difficulty in persuading his people to furnish the church with an organ. It was an excellent instru- ment, and the performances were under his general direction. BUT NOT PERPETUATED. tit Voluntaries, preludes, interludes, and accompaniments, were all chaste, simple, and subdued. The effect thus far was favorable. The people were gratified. The songs of praise excited more and more interest; and appeared to be increasingly devotional. The time was drawing near when the pastor would gladly have given specific instructions to his people. This he had fully pre- pared to do ; but just then, his health failed him. He sickened and died ; and the fair prospects were soon obscured. He had from the first been the life and soul of the improvements. No one else had understood the secret springs of influence ; and now artistic principles were destined to gain the ascen- dency. The talented organist, no longer held in check, began to ex- hibit increasing measures of skill. The change was gradual, and it wrought insensibly upon the feelings of the people, till he had them in his power. He was too prudent to shock their ideas of religious propriety, and calculated for most of his suc- cess on the lapse of time, till habits could be insensibly formed. His wisdom and discernment were worthy of a better object than the one he was pursuing. A few years saw him at the height of his ambition, as sole director of an artistic choir, whose performances had less hold upon the Christian suscepti- bilities of the people, than upon their taste for display. Mu- sical cultivation went onward, leaving devotional influences in the dim distance. Congregations in a large city will often greatly change after the removal of a beloved pastor. Such was the case in the instance before us. The present pastor, with no knowledge of music, leaves all to the direction of the organist. He is an ex- cellent talented man, but having left this field of effort in the hands of an ambitious artist, the present skilful personations of praise are perhaps even farther removed from the ends of spir- 88 INFLUENCES RIGHT. itual worship, than were the original abuses which under the former pastor had been so happily removed. We see from this sketch, that when important improvements are being established, the reasons for them should not be too long delayed. In this case, as in many others, a small amount of information would have prevented the miscarriage. XV. A FICKLE PEOPLE. '♦Learn to labor and to wait." — Longfellow. There was a congregation in the large inland town of L , who were remarkable for fickleness in their musical transac- tions. Some features in every arrangement would create dis- satisfaction, and call for a change. Almost everything in turn would be tried, but not with sufficient thoroughness to ensure permanent success. There was a pleasant-toned organ in the church ; but its powers were too limited to control the voices of the singers, which would often be out of tune. A choir of some kind were always in the gallery, but the members and the leaders were continually changing. Choristers of every sort would be severally tried and dismissed ; and on one occa- sion the chorister chosen out of many candidates, found it ne- cessary to leave the situation before his year had expired. The choristers, too, would be chosen from different musical cliques, whose interests were opposed to each other. This would occa- sion corresponding changes of books and methods of practice in rehearsals — leading to those petty strifes and mortifications which, though insufficient to mar the peace of society, were great hinderances to the progress of skill and refinement. The same irritability was observed in musical committees. The individuals who had the matter in charge would go rashly for- 90 A FICKLE PEOPLE. ward, nothing doubting as to their practical wisdom ; but soon, plunging into inextricable difficulties, would retire and give place to others, who, without profiting by past experiments, would meet with a similar defeat. The people of the congregation became impatient with the singers, but imagined themselves to be afflicted with a necessary evil. "Singers," they would say, "are always restless and irritable — always prone to make difficulty. We must endeavor to bear with them." The house of worship would always be filled ; for it had a fine location, and was supplied with excellent preaching. Yet so many would be driven away by the bad singing, that the congregation were scarcely more stable than were members of the choir. One might have supposed that, in process of time, these fluc- tuations would have terminated ; yet more than fifteen years elapsed before the evidences of greater permanency appeared. And this was in the midst of an intelligent, Christian popula- tion, embracing several well-conducted choirs, with no ordinary share of musical skill and refinement. Now, how shall we account for all this instability 1 In the first place, the people did not feel that deep and de- cided interest in the subject which would have led them to acquire the necessary practical knowledge, and to make pecu- niary appropriations with sufficient liberality. A wish to avoid trouble and expense, led, of course, to the exercise of a tem- porizing policy. Arrangements, in order to be permanent and satisfactory, must be made with due intelligence and forecast. In the second place, a strong, general, business-like idea of the importance of good music to the prosperity of a congrega- tion, led the people to be impatient of gradual results. They could not wait for progressive maturity. It was supposed that by some possible arrangement, the desired object could be A FICKLE PEOPLE. 91 speedily obtained. But, since the " ploughman would not be overtaken by the reaper," that which was beginning to put forth leaves and blossoms, must be uprooted to make way for a new process of seeding. But thirdly, this subject had never been taken in hand as a solemn duty. Other choirs in town had been organized and sustained on Christian principles, and their success was found to be permanent. But the congregation before us, entertained different views of responsibility. " Music," they said, " ought to be cultivated like painting and sculpture. It was no part of religion, but an art to be encouraged, because of its usefulness in Christian assemblies." Thus, by a mixture of truth and er- ror in their principles, they virtually secularized the entire in- terest, and regarded those as superstitious, who insisted upon the importance of religious training. No wonder they failed to succeed. Success would have been impossible. XVI. AN ORGANIST A WOULD-BE LEADER. Governed theoretically and practically by whims."— Jacobi. The land of steady habits furnishes many a noble example of stability in the praises of Zion. The same counsels have prevailed from year to year, and sometimes from generation to generation. How desirable is such stability where counsels are wise, and practices are rightly directed ! But examples of in- stability are not wanting, even in New England. In the beautiful village of J , there was in one of the principal churches a large choir, whose performances had for a long time been remarkable for their excellence. Things were not always right, for in the absence of better information, art- istic principles would sometimes be too predominant. But the leading members of the choir were truly conscientious, and acted up to the amount of their knowledge, as spiritual wor- shippers. The congregation were greatly interested in the ex- ercises, and for the most part considered them highly devo- tional. The pastor, with a small amount of musical skill, would seek to favor the choir, and one of his deacons was among the leading singers. Everything was harmonious in the two-fold sense of the word. There was good music and entire unanimity of feeling. Not a single difficulty arose to mar the enjoyment for years in succession. The happy example of this choir be- A WOULD-BE LEADER. 93 came widely influential in the establishment of similar associa- tions. But at length the lapse of years witnessed important changes. Several of the leading members of that choir had gone to their heavenly rest. Some had retired from the gallery, and others had left the village. Among the latter were the teacher, and the chorister, and the deacon. Another pastor now occupied the desk, who, though a better singer than his predecessor, was remarkable for his dread of all musical responsibility. He was young and talented, and amiable in his deportment. He was emphatically a good man, deeply devoted to the duties of his profession. His want of decision in regard to exercises of praise was unfortunate. A little courage and energy and per- severance in regard to the choir, would have sufficed to perpet- uate the former influences. But the entire management was now for the first time, given into the hands of the trustees of the society, not one of whom was really competent to sustain such a responsibility. There was still an efficient choir and an excellent chorister. But the trustees chose to act independently. A large organ was placed in the choir-loft, occupying some portion of the room which had been filled by the singers. Every pipe in so splendid an instrument must be allowed the freedom of speech, though by this means the singers should be overpowered. The singers also were greatly crowded. As to the first of these difficulties the chorister felt little concern, for the people would soon find that they might have too much even of a good thing. But the seats — these could neither be multiplied nor extended. So the chorister and the deacon, greatly beloved and respected by the singers, concluded to set an example of condescension. Leaving all the cushioned seats to the singers, they planted themselves upon a pine bench placed for the purpose, in a small 94 AN OBttANiaT vacancy in front of the organ. The thing was done so gently, and with so good a grace, that not a word was said. There was now room for all, and causes of complaint (no thanks to the trustees) were fully obviated. The organist was a man of skill, and in some respects a good accompanist. He was, however, one of those musical students of whom it might be said that " a little learning is a dangerous thing." He was superficial and opinionated. Partially con- versant with German music of a high order, which abounds in mimetic imitation, he sought to plume himself with achieve- ments of a similar nature. He could manufacture darkness and sunlight, haloes and moonshine, in any quantity, at the shortest notice. He usually kept his eye upon the text, and words and phrases, independently of all connection, were the special calls for his expression. He was, in fact, a musical punster of a graver sort. If he saw the words "upward I raise," up went the touches to altissimo — or the words " down my thoughts," — down went the minstrelsey into the cavernous depths of the instrument. If the poet said " no thunder" — " no tempest" — it was enough. The thunder and the tempest would be forthcoming, though the poet should be virtually contra- dicted. He had also a decided fondness for power in two respects. He loved a powerful accompaniment, and he was ambitious of becoming sole director of the music. The present chorister, therefore, was directly in his way. For a few years the singing, in connection with the organ, retained much of its former character, and continued to please. But on a sudden the chorister was called to another field of labor. The organist exulted. He felt like a prisoner let loose from confinement. Now was the time to obtain the coveted prerogative. Why should a man of his acquirements be con- tinually crippled by restrictions and limitations ? He had been A WOULD-BE LEADER. 95 too long under tutors and governors. He " ought certainly to be able to manage without an overseer."' The singing had ; * never been sufficiently skilful. The art rightly applied." he said, was " susceptible of higher effects."' He had very little respect for the talent of the existing choir. They were " good people, but no musicians." The singers, however, had sufficient evidence of the incompe- tence of the organist in vocal music, and made a faithful though prudent representation of their views to the trustees. His notions were all artistic — he was sufficiently enthusiastic and sanguine of success. But he had no voice. He had no expe- rience in teaching. His judgment was not stable. He was whimsical. He had no skill in discipline, and no tact in man- agement. These representations, however, were of no avail. The singers, it was thought, must be strongly prejudiced. In- deed, the organist had preceded them in his accusations ; and as he had played himself into favor with the people, all remon- strance was useless. The choir would no longer consent to sing without an efficient leader. The trustees thought them un- reasonable. The pastor, like the organist, was inclined to look on the bright side of the subject. He thought the singers would not leave. He presumed that the matter could be easily ad- justed. It was, indeed, presumption. The very first Sabbath after the new appointment, the singers left the gallery, to the chagrin of the organist and the vexation of the trustees. They acted wisely. For a long time their services had been ill-appreciated — and now a leader was appointed over them contrary to their known wishes, and one whom it would be impossible for them to follow. He himself had spoken disrespectfully of their talents : and why should they place themselves under his direc- tion ? Ther could not act so foolishlv. They made no further 96 AN ORGANIST complaint. They had done what they could, and had left the seats peacefully, to be occupied by other incumbents. The organist rallied. He puffed, and blowed, and fretted, and finally bowed and simpered, and gained from the " upper classes" a band of fresh volunteers, who, no doubt, would far outshine their predecessors. But, unhappily, the new-comers lacked discipline. They were impracticable. They we re not to be drilled either into style or punctuality. They came up only for a few Sabbaths, just to show what might be done, and to keep the poor organist in heart. They were not the persons to ac- complish the work ; to stand in the breech and assume responsi- bilities. Of course, their example was ineffectual. They soon retired, and left the organist once more in trouble. Gladly would he have greeted the return of the former choir, for the failure had somewhat lessened his self-esteem. But this could not be. There was no efficient leader. Devotional ideas had been set aside. The trustees were ignorant of the subject ; and the church and pastor would assume no responsibility. How could the choir, under such circumstances, resume their seats, and maintain, as formerly, the attitude of solemn worshippers 1 Artistic principles now held the predominance; and the church and people had united in the arrangement. The change was disastrous. The members of the old choir soon began to be censured. Grievous imprudences were laid to their charge, of which they were entirely innocent. They were accounted stubborn and wilful. But this was not true. They acted from principle, and acted wisely. Yet the case was differently represented. And thus, a conscientious, united band of sing- ers, driven from their seats by counsels which had put it out of their power to enjoy the privilege of sincere worshippers, were made to bear, like scape-goats, the sins of the organist and congregation. Every movement would fail. Nothing would A WOULD-BE LEADER. 97 be stable — nothing would be attended with success. Hired singers must be procured. The organ must be enlarged and better located. The congregational method must be tried ; then another voluntary choir; and then a real "prima donna." Nothing could give satisfaction. Every failure, however, would be traced back to the period when the seats were first vacated. The first choir had inflicted all the injury. But why refer the repeated miscarriages to them 1 Why not go back to the treatment which they had received and borne with Christian fortitude, till forbearance had ceased to be a vir- tue? The choir acted nobly. It was the people who had sinned. In their ignorance they had been guilty of ingratitude and abuse. They had sacrificed the spirit of praise to the idol- atries of taste, and like others who had been equally inconsid- erate, had plunged themselves into inextricable difficulties. Another generation may yet pass, before the merits of the sub- ject will be understood. Yet, a small amount of information, faithfully acted upon, would in the first instance of difficulty, have prevented the entire train of evils. 5 XVII. BACKWARD AHD FORWARD. "Man mc st err, Till he has ceased to struggle." — Shklley. Not far from one of the western villages of this State, the track of a much travelled railroad runs repeatedly backward and forward, at very acute angles. Inattentive passengers may fancy that they have been advancing many miles, when in fact they have been making but little progress, except in a lateral direction. Such has been the zigzag course of psalmody in the American churches. Previous to the revolutionary war, the strains of the six- teenth century formed a leading feature in the songs of praise, but before the struggle was over which established our inde- pendence, foreign music was extensively laid aside in favor of home productions. The latter, while designed for the church, were as undevotional in spirit as rude in structure. They were wild and artless, but full of life, and noise, and novelty. As there was then but little taste in the country, they soon became popular ; but at length their irreligious tendencies created alarm. This, in the course of a few years, brought them into general disrepute. The next movement was backward, to the music which had formerly been discarded. The people for awhile demurred and hesitated, but finally acquiesced, and sunk into a BACKWARD AND FORWARD. 99 profound repose, from which no appliances of argument or mo- tive could succeed in arousing them. The old music had been sufficiently celebrated, but it could not awaken their sympa- thies. It seemed to savor of indolence, dulness, and monotony. What was it to them, that three centuries ago, these tunes had been sung in a foreign land, by a Huss, a Zwingle, or a Luther 1 American singers required music more appropriate to their own times and circumstances ; music which they could appre- ciate and enjoy. For several years, therefore, an increasing in- difference was manifested. Meanwhile, some of the neglecters of the art, delightfully employed in revivals of religion, began to apply rudely-con- structed hymns to the music of low, familiar songs and ballads. The new pieces were so far removed from the stiffness and mo- notony of the chorals, as to be more exciting. This circum- stance rendered them popular. For awhile, in many portions of the country, their effect was electrical. But whenever a re- vival had subsided, and there was more leisure to attend to the subject, it was found that the music, in spite of the devotional words, would bring to mind the old songs and ballads. Music having associations so disastrous to spiritual worship, could not continue long in favor. The tunes in a little time became dis- gusting, and were generally discarded. They proved more un- desirable than the chorals, or even the senseless productions which had preceded them. The general interest in psalmody was again decreasing. From this period, the progress of psalmodic selections was directly onward. Spirit-stirring melodies and movements of a chant-like character, uninjured by profane associations, were now mingled with the old chorals. The people once more be- came interested, and awoke to the importance of taste and judgment in the selection of tunes. Books and singers and 100 BACKWARD AND FORWARD. schools, adult and juvenile, increased throughout the land ; and the numbers have since been accumulating up to the present hour. The style of execution in psalmody has not unfrequently been marked by similar vicissitudes. This observation has more reference to particular choirs than to the community at large. The choir in the old church in L , while conforming to the above-mentioned changes in selection, received instruction, for a period of some twenty years, from eight different teach- ers, each of whom was unhappily but a " man of one idea." The first teacher was skilled in notation, but entirely deficient in style. When his term had expired, his pupils could read music ; but their style was monotonous and insipid. The sec- ond teacher was a prodigy in teaching rhythm. He was a walking metronome. While singing, every joint would be in motion, like the workings of machinery. Under his instruction the choir became good timists, but nothing more. No attention had yet been devoted to the cultivation of the voice. The third teacher was the man to supply this deficiency. " What is the use in keeping time," said he, " while the voices are unmu- sical ?" He was a bad timist with a pleasant voice ; so, in his constant vocalization, he indirectly promoted negligence of rhythm, till the influence of the training of his predecessor had disappeared. The fourth teacher, being a rhythmist, soon re- stored regularity in respect of time ; but through the inveterate habit of snuff-taking, his voice had become nasal ; and the tones of the singers were injured through unconscious imitations of his voice. The fifth teacher was remarkable chiefly for articulation. He had studied orthoepy to some good purpose ; but was ignorant of stvle. " Of what use are pleasantness of tone or accuracy BACKWARD AND FORWARD. 101 in time," said he, " if the words are never to be heard ?" Time, he said, was essential to the simultaneous utterance of words, but beyond this it required little attention. Good articulation, said he, depends upon the distinct utterance of the consonants. The singers, therefore, were drilled so exclusively upon the ele- ments of the consonants, that, through the habitual neglect of vowels, their voices lost their remaining polish, and became worse than ever. The sixth teacher had a sensitive ear, with much affectation of refinement. As he had but little knowledge, he chose to pass for a natural genius. He abounded in extravagant ex- pressions. He would be " absolutely tortured" by trifling aber- rations from the pitch ; and the roughness of consonants in ar- ticulation would be " quite horrifying." M Why should the ' heavenly charms' of song," said he, " be converted into drawl- ing recitations." So the sibilants must be silent, the aspirates must withhold their breath, and the mutes be entirely dumb ; while only vowels, labials, and liquids, must remain as representa- tives of the language. Of course, good articulation was destroyed. The seventh teacher was famous for " good vocal delivery." He had a commanding voice, and was sufficiently proud of it ; but he would sing so loud as to destroy all balance in the har- mony, and cause aberrations from the pitch. He was however faithful to his one purpose. " Articulation, and accent, and em- phasis, and the pauses, and the management of the breath," said he, " are all essentials in language ; and what is the use of pre- tending to sing hymns, if the language is to be destroyed by the music V A momentous question truly ; and one which should not have been so many years deferred. But in his ex- clusive devotement to these essentials, in verbal delivery, he neglected tone, and tune, and time, till in these latter respects the singing had miserably degenerated. 102 BACKWAKD AND FORWARD. The eighth teacher was a sentimentalist. He was addicted to light reading, and would often be rubbing his eyes over some sorry novel. " Music," he would say, " is the language of the soul" (referring, doubtless, to emotion, such as the mere artist may feel). " Music must be full of sentiment. Sentiment is everything. What use is there in good vocal delivery without feeling '?" A very important question to be sure, if he had fully apprehended its meaning. But his definitions and direc- tions were of little account, and his illustrations were ridicu- lous. When a tune pleased him, he would rub his hands, work up his face into curious distortions, breathe short, and look alto- gether so queerly, as to call forth a laugh, unless his pupils were particularly upon their guard. They admitted the pro- priety of emotions in singing ; but these would never come for his bidding. This was beyond the depths of his philosophy. He could not understand it. The singers must be greatly defi- cient in sensibility if they could not sympathize with him. All these conflicting changes, of course, could not have oc- curred among the same individuals in any short period of time ; but, as the several seasons of instruction referred to were sepa- rated from each other by intervals of two or three years, and as few of the singers would stay many years in the choir, the disagreements among teachers excited little observation. At length, a period arrived when an able instructor was em- ployed, whose well-digested system of training led the course of improvement directly onward. He took in hand, severally, the essential properties in style, giving to each its relative share of attention ; crowning the whole, by strongly inculcating men- tal habits and principles, in connection with the office of praise. His success was so pleasing and so unprecedented, that from that time forward no other teacher could find employment in the place, while his services could be secured. BACKWARD AND FORWARD. 103 How great is the importance of employing good teachers, and continuing their services in the same places, till their work can in some measure be perfected ! The influence of wrong se- lections of music, as we have seen, must be very disastrous, but the employment of incompetent teachers is still more so, especially where their instructions are partial and contradictory. By such means as these, the choir of the old Church in L , were laboring twenty years before their style became mature and permanently effective. XVIII. AN INSTRUCTIVE EXAMPLE FOR CITY CIIORCIIES. " Let ail your sacred passions move, While you rehearse his deeds.'MVATTB. The old M church which stood in the business portion of one of the largest cities in the Union, was long since demol- ished by the rush of commercial enterprise. It was large and commodious, though unsightly and ill-proportioned. The peo- ple who worshipped there, were chiefly from those classes in society, who were the most forward in Christian activity. They were favored with an earnest ministry. Addresses from the pulpit, though plain and unpolished, were eminently logical and persuasive. They turned back many a one from the paths of the destroyer, and led him in the ways of righteousness and peace. The city from its earliest foundation had been noted for the prevalence of congregational singing. The few feeble choirs that had latterly been organized, could not long be sustained. Whether hired or voluntary it mattered not. There was a want of energy and a deficiency in skill. One of these choirs, for example, sung on a certain occasion from four different editions of the same music-book, without discovering that the harmonies were different in each. They read as " by guess." Little at- tention had been paid to rules. Music syllables had been dis- carded, and the practice of beating time, at rehearsals, had be- AN INSTRUCTIVE EXAMPLE. 105 come the subject of ridicule. The performances of such choirs were neither agreeable in manner, or devotional in spirit. But the enterprising people at the M church, blessed as they were by an excellent minister, could not be satisfied with such miserable singing. What should hinder them from estab- lishing a choir on better principles ? True, they could not pre- tend to musical talent or taste, or peculiar susceptibility. But these were things to be gained by study and practice. Former efforts had been feeble, desultory, and ill-advised, and they had not been based upon religious principles. Praise should be sedulously promoted and sustained as a Christian employment, and a delightful privilege. The present state of things could no longer be tolerat- ed. An adult singing-school was established, under the charge of a pious and talented teacher. Those who were the most ac- tive in every other good work, were the most faithful and per- severing in this. They acted from principle. They were ear- nest and ardent, and instruction took fast hold upon them. When a few months had elapsed, and long before their voices could be well matured, they organized themselves into a choir, and took their places in the gallery. They did not pretend to be artists. They had gained but little skill in execution. They were not equal to the strains of a Mozart, a Beethoven, or a Mendelssohn. There was not a Caradora or a Sontag among them ; not an individual who could anywhere have sustained the reputation of a solo singer. But with a goodly number of chaste, familiar melodies before them, they were enabled as a choir, to speak forth the praises of God in a remarkably solemn and impressive manner. The voices were numerous and pow- erful. Moving in the plainest harmony and the simplest rhythm, they kept together, and so acted upon each other, as to form a fair specimen of chorus-singing. 106 AX INSTRUCTIVE EXAMPLE What if the critic could now and then discover the grating of a harsh consonant, or the misapplication of an accent or em- phasis I And what if the melodies were too simple or too ballad-like to meet his notions of artistic propriety ? They were precisely such as the circumstances then demanded, and were, therefore, sufficiently in character. They had never been injured by profane associations. They were of a popular cast, easily understood and appreciated, and the choir could speak through them effectually to the conscience and to the heart. Their dynamics resulted more from feeling than from art. Adaptations were generally happy : and both the words and the music were strongly characteristic. Minor discrepancies were lost in the loud volume of sound ; and the singing, in the favora- ble circumstances which attended it, appeared better than it really was. Yet it was truly excellent in the best point of view. No church music in the city could then compare with it in re- ligious utility. Nor was improvement confined to the choir. The congrega- tion grew less discordant, and their efforts were becoming more regular and consentaneous. The sub-basses, who used to sing the melody a fifteenth below the pitch, and the drawlers, who would be so marvellously behind time, had either been shamed into silence, or been better instructed. Even the monotones had learned to be dissatisued with droning. All, while evi- dently improving, seemed pleased and edified ; and a mutual sympathy was maintained between the choir and congregation. A style so unpretending, so readily acquired, and yet so influ- ential, could not fail to excite observation. Many could not understand it. Artists considered it too unclassical ; amateurs complained of its deficiencies and innovations ; and critics were sure that something better could be devised. They tried their skill amid the surrounding congregations, but were foiled in FOR CITY CHURCHES. 107 every effort. One scheme after another would be defeated. But the choir at M were never in difficulty. Their music was permanent and always improving. At length the secret was manifest. The choir consisted chiefly of conscientious, in- telligent worshippers. They were neither "hired singers," nor " amateur performers,"' nor vague sentimentalists, but members of a Christian church, sustaining the office of praise in spirit, as well as in manner, under an apprehension of the all-pervading presence of the heart searching God. The choir had taken the right position, and were able to main- tain it. They reasoned thus: — "If mere musical enjoyment is to be our object of pursuit, let us purchase tickets and spend occasional evenings at the concert rooms ; but if spiritual wor- ship is the chief desideratum in the exercises of praise, let us prepare ourselves, and personally engage in them, as in other religious duties, and endeavor to obtain the divine blessing upon our exertions." They acted on true Christian principles, and were never disappointed. Their labors were abundantly re- warded in the sweet religious enjoyment which attended them. Their style continued to improve. No other singing gave such general satisfaction to the friends of evangelical piety. Other congregations in the city began to profit by their example ; and strangers from every part of the land, as they visited the city, were struck with surprise at t«he visible improvement they wit- nessed in the songs of praise. Years have passed since the old edifice was demolished. When it was abandoned, the choir dispersed through various portions of the city, acting like leaven upon the mass of singers who had already felt the power of their example. That influ- ence is not lost. Several choirs in the city are still established and conducted on the same general principles. If other churches persist in allowing mere artistic personations of praise, let them 108 AN INSTRUCTIVE EXAMPLE. not complain of irrascibility as peculiar to musicians. They would find full as much trouble in regulating the office of prayer, if they were to proceed on no better principles. The main- tenance of wrong principles in any department of religious wor- ship will be found to make trouble. But let a lesson be taken from the example which was given by the choir of the old M church, some twenty years ago, before complaining of labors, sacrifices, and perplexities, in sustaining the office of praise. What a measureless amount of good may sometimes be produced by a single choir, conducted on Christian princi- ples, under the Divine guidance and blessing 1 XIX. SABBATH CONCERTS, M Who ever knew truth put to the \v0r3e in a free and open discussion ?" — Milton. " What have / to do with religion in my singing-school f exclaimed one whose attention had just been called to the sub- ject. " Clergymen are teachers of religion." " But," replied his professional friend, " the clergy are not teachers of religious music. That is our employment." " Not exactly. Music is one thing, and religion another. Things which are so different may well be separated. "We are mttttc-teaehers." " But sacred words are continually before us in the schools. How would you treat them f " With becoming reverence, certainly. My schools are never disorderly." " Would you not have the words illustrated and enforced by the music V " To tell the truth, words do not seem so important when the music is effective." " To me, they seem the more so." " That is not the prevailing impression." " Probably it is not. But the office of praise, you know, is established by divine and not human authority." 110 SABBATH CONCERTS. u The art of music has become a different thing since the Bi- ble was written ; and — " " But the Bible has not changed. Its precepts are inviola- ble." " True. Very true. But music, you know, has become of itself an expressive language ; more deeply so, than that of mere poetry or prose." " Id a high artistic sense it has sometimes put forth such claims. But, come, if the language is so wonderful, just pro- duce me a musical translation of the fifty-first Psalm which will be understood and appreciated." " We have our penitential style, you know." u Rather say pathetic style. Music is the language of emo- tion. But emotions need a guide, an interpreter. Men may be sorrowful or glad in reference to wrong objects." " But remember, I do not lay the words aside." " You only mean to lessen their importance." " I may be wrong in this. But look at the listeners at a pub- lic concert. What delight is manifested when any beautiful, or pathetic, or sublime ideas are brought out by the performances ! The appeal is felt and responded to, though not a syllable of the language is understood. We never witness such effects from verbal utterances in psalmody." " Nor should we desire to witness them. The nature of the two cases is entirely dissimilar. In the one, the object is amusement, just as in dramatic exhibitions ; in the other, it is solemn personal worship, in the presence of Omniscience, as in exercises from the sacred desk." " True ; and we ought to remember this distinction." " And to act upon it." "Certainly; but—" " I understand your objection. The view I am presenting is SABBATH CONCERTS. Ill not the popular one. We wish to please our employers ; and it requires much courage to carry such views into effect, as many would be tempted to call them ultra." " Precisely so." " My friend, you wish everywhere and at all times to do your duty as a Christian." " Certainly." "But the public impression in regard to church-music is sub- stantially wrong. It is too decidedly artistic. Now, if in all our training, in regard to sentiment, we make no practical dis- tinction between artistic and devotional influences, how is the prevailing error to be corrected ? Such teaching tends neces- sarily to its perpetuation." As no further answer could be given, the conversation ended. The two teachers were intelligent, and they were ardent friends. The one had a call from the choir of the P church of a considerable inland town, and the other was kindly urging him to sustain his proper responsibilities as a teacher of religious music. The discussion had some influence ; but as the call was a flattering one, and there was some hurry and bustle in prepar- ing to meet it, no very abiding convictions of duty were pro- duced. Still, important thoughts had been suggested, which would not be entirely forgotten. The choir of P church had long been remarkable for skilful performances. The singers were numerous and power- ful, and well united. They had a splendid organ, with a profess- ional player ; and now they obtained a talented teacher and leader. Their singing had not declined. There was no need of an accession of numbers. Every seat was filled. The sing- ing was popular, and the people were sufficiently proud of it. Visitors had praised it. Journalists had often commended it. Lecturers had referred to it as a model of excellence ; and pub- 112 SABBATH CONCERTS. lishers of music had found their account in sending gratuitous supplies of books for the accommodation of the singers. But, improvement is never stationary ; and the only way to prevent retrogression, is to endeavor to move onward in the progress of refinement. This was the reason for employing so talented a teacher. The new teacher was now in his element. He was kindly received. His instructions were highly prized. All were de- lighted with his gentlemanly bearing, his ideas of style, and his delicate and intelligent discriminations. The choir library (thanks to the generosity of publishers) was very large ; and the singers must now be tasked upon the very highest speci- mens of the art. Splendid concerts and oratorios must be given in the long winter evenings for the public gratification. " People will have amusements," it was said, " and what could be more harmless and more beneficial than such exhibitions of skill !" Such an exclusive attention to concert and oratorial selec- tions, however, was encouraging a general fondness for music of a high rhapsodic character, such as is adapted to dramatic interest and artistic display. Selections in psalmody soon man- ifested the same characteristics. But the people were delighted with the style. Their interest in the music was manifestly in- creasing. The performances at church were " remarkably ef- fective." Countenances would glow with animation, and eyes would be suffused with tears. And there would often be wit- nessed the deep impressions of solemnity. For awhile the teacher was entirely satisfied. Such tokens of feeling, he thought, were unequivocal. The people, no doubt, were as distinguished for religious susceptibility as for refine- ment in musical taste. But, as he grew more intimately ac- quainted with individuals, he began to suspect that all was not SABBATH CONCERTS. 113 right. Such evidences of feeling usually betoken a revival of religion — vet the present was a season of sad religious declen- sion. And how did it happen that all classes, young and old, saints and sinners, were affected nearly alike? That would seem to prove that the influences were chiefly sympathetic. How did it happen, too, that the choir were so given to senti- mentality 1 Emotional tokens were transient. They were not accompanied with deep seriousness. They evidently had more relation to taste than to spiritual worship. Professors of relig- ion, among their numbers, would seem to rush irreverently into the divine presence, with such momentous expressions as would have faltered upon the lips of prayer ; and they would often be so absorbed by the music, as to be paying homage to the achievements of art, instead of holding solemn, spiritual communion. These appearances, too, were gradually increas- ing with the progress in musical improvement. The teacher was distressed with the state of things. Could it be that the appearances of Christian fervor had been illusory ? No one but himself had any suspicion of the kind. He would make more careful inquiries among the people. He did so ; but not to his own relief. The people were like the choir. They were not at all scrupulous about the spirit of praise. In the time of prayer they were watchful and self-suspicious ; but when the songs of praise arose, they gave themselves up to the influence of fine music, with little thought of personal responsibility. If the music affected them agreeably, they in- quired no farther ; if it failed to do so, the performances, for once, had been unsuccessful. As to the exact nature of their feelings, there had been little inquiry. Good music, they said, fitted the mind for devotion. It made them "enjoy them- selves," and " shed a delightful influence over the ether exer- cises." 114 SABBATH CONCERTS. His suspicions were fully confirmed. He had been giving Sabbath concerts he said, during the solemn hours of worship, while the good people had been engaged as amateurs. And then he thought of the proverbialisms among literary men, con- cerning the superficial nature of musical impressions. u Can it be that the pretensions of the art are fictitious 1 If the highest specimens produce, in a religious assembly, such influences as are undevotional, what can we say as to the utility of the art ?" In his perplexity he repaired to the residence of his pro- fessional friend, and freely unbosomed himself. A second dia- logue ensued, which led to the happiest consequences. Various topics came under consideration. Sacred music, technically considered, consists of two departments — the artistic and the devotional. The people at P had always confounded this distinction. They had endeavored to worship on merely aesthetic principles. This was fundamentally wrong. The orror must be fully exposed and corrected. Refinement does not always proceed in the most profitable directions. In church music it finds an ample field within the limits of chaste simplicity, em- bracing many things which the mere artist disregards. And, finally, there must be adequate religious instruction in rehearsals of church music. " You now perceive," said the friendly adviser, "the importance of the principle I formerly stated to you. Artistic drilling produces artistic mental associations. Unless you can obviate this evil in the way I have suggested, the influ- ences you so much deprecate will become manifest to others, and ultimately produce an unfavorable reaction. Now is your time for effort. Be prompt, yet prudent and prayerful, and I trust you will be rightly directed." The advice was timely. The teacher returned to his work with alacrity, and soon a great change became manifest. The good people awoke to feelings of personal responsibility, and SABBATH CONCEKTS. 115 began the work of self-examination. The interest now was re- ceiving a more definite and satisfactory direction; and while there was no decrease in skill, there was a great increase in devotion, which made their singing really efficient in a religious point of view. XX. RIVAL LEADERS RECONCILED. " Mind not high things, but condescend to men of low estate."— Romans, 13: 16. The church of O is situated in a wealthy farming dis- trict, in one of the largest of the " Middle States." The con- gregation has worshipped there for more than half a century, with a good measure of prosperity. The choir, however, were not remarkable for unanimity, until they became settled upon a substantial Christian basis. Their trials were peculiar. Two individuals, the one a thriv- ing merchant, and the other a man of letters, were for many years the only persons deemed capable of giving direction to the music. Both of them were influential men, and professors of religion. They esteemed each other, and could act kindly together on all subjects but one. In their taste for music there was an entire disagreement. Each had too high an idea of his own acquirements. It was not an ebullition of vanity that in- fluenced them, but an honest, deep-seated persuasion of talents which ought to be rendered useful. There was no desire for emolument. Nor was the position of chorister, on the whole, an enviable one. But the music ought to be sustained in the best possible manner. Each was willing to labor and make personal sacrifices, if he might do so according to his own no- tions of propriety. But there was no acting in concert. They RIVAL LEADERS RECONCILED. 117 could agree to differ, and be mutually patient, but nothing far- ther. There was no umpire to decide between them. Both were inflexible, and both were beloved by the congregation. No alternative was left, therefore, but to give each, in turn, the sole direction for a limited period, as a kind of experiment. This was a constant source of uneasiness, for whichever of the individuals had the temporary ascendency, he would endeavor to gain the most adherents, while the other, like a shrewd poli- tician, would be operating against his influence. There was no bitterness or clamor. There was nothing unmanly or disingen- uous. But there was criticism, which, whether right or wrong in point of accuracy, had just enough of inquietude attending it, to mar those social influences which favor the growth of spirituality, and prevent the progress of refinement in taste. After all, the grounds of the difficulty were comparatively slight. They were not well understood, except by the parties themselves. A little yielding on either hand would have brought them together, to the great gratification of the people. But who that has any pretensions to art, can fail to be on the defensive when his taste is called in question ? It is as if he were accused of deficiency in judgment, or wit, or discernment. Christian principle kept the parties from all appearance of con- tention, but it did not make them happy in the praises of Zion. There was just enough of unpleasant feeling between them to neutralize taste, and prevent devotion. Preaching and prayer, among that people, were attended with the usual results, while praise seemed at all times an unprofitable exercise. But how were the unhappy tendencies of this difficulty to be counteracted 1 They were not a suitable subject for discipline, because the parties were honest and conscientious. No accusa- tion could be brought against them either of discourteous con- duct or unchristian feeling. Simple unhappiness in regard to 118 RIVAL LEADERS RECONCILED. " affairs of taste," was a thing " to be regretted, rather than blamed." The pastor gave instructions relative to praise as a Christian duty, out these were of a general character, lest he should seem to favor either one of the parties. He spoke of the necessity of skill, but was silent as to the method of apply- ing it. He showed that taste was necessary, but avoided all specific illustrations. He insisted on the maintenance of a spirit of praise, but could not tell how this was to be done in connection with musical practice. His ideas in reference to this topic were greatly confused, for the undue pretensions of art had not yet been exposed. It was imagined that good mu- sic, however obtained, must possess some inherent efficiency which would be available. The strong influence of social feel- ings and mental associations upon music, was not then under- stood, nor did it occur to any one that music for religious pur- poses, should be cultivated in a religious manner. Schools and rehearsals were indeed conducted with becoming gravity, but the drilling was artistic, and no special attention was bestowed on the training of emotions, or on the preservation of spirit- uality. Under all the attending circumstances, therefore, it was not wonderful that the people derived little benefit from the ex- ercises of praise. And, not experiencing tne utility of music, where would be the advantage in promoting it 1 They knew that it ought to be decently sustained, but as yet, it had been too barren of results to awaken general interest. From year to year there was no increase of skill or visible improvement in taste or spirituality. In all these respects it might rather be said there was a gradual decline. But an important change was at hand. The literary man was one day stating his grievances to an intelligent Christian friend, who lived at a distance, and had known nothing of the matter. The friend finally suggested to him a remedy which RIVAL LEADERS RECONCILED. 119 would prove effectual. " The parties," said he, " must come together on some plan of mutual co-operation. This is indis- pensable. The irritation of feeling must forever cease. It is wrong. Taste can never be promoted without feelings of una- nimity, nor can it by any possible process be suddenly super- induced, especially upon the merchant, who is now for a season to be the leader. His taste after all must be quite equal to that of the community around him, or they would manifest less satisfaction with his direction, and give you the decided prefer- ence. Others are not so well informed as you are. The peo- ple, therefore, pay deference to your views as long as you have charge of the music. But blind acquiescence in the decisions of an acknowledged superior, is of little avail in the promotion of taste. Something far different is demanded for such a purpose. This, my friend," said he, '''you can fully understand. Your own experience should teach you this lesson. You can never in this way elevate the standard of taste, for the thing is impossi- ble." " What, then, would you advise ?" said the complainant. "You must condescend," he replied. "You must do it thor- oughly. You must do it heartily, affectionately, and in a truly Christian spirit." " Why should I do this in matters of taste V " Because it is needful. You must begin at the foundation of things and build upward. The taste of the people must be so far consulted as to secure on their part an intelligent inter- est in the music placed before them ; and must be led onward in refinement so gradually, as to secure a well-ordered and sub- stantial growth of improvement." At such advice as this, the complainant was confounded. Based upon his own representations, and given with intelligence and Christian simplicity, it seemed for a moment unanswerable. 120 RIVAL LEADERS RECONCILED. But at length recovering himself, he resumed the discussion. " Music is an art. Its principles are inviolable."' " So is oratory an art," replied his friend. " Yet we all ad- mit, in a religious assembly, the principle for which I am pleading. He who would speak to the purpose in a religious assembly, must not only render himself intelligible. He must stand clear from all suspicion of artistic emulation or love of display. Music, in the office of praise, is but another form of verbal enunciation applied to the most solemn words which ever fall from human lips." " And what would you say in reference to poetry 1 Would you mar its diction, and violate its imagery, and interrupt the sweet flow of its numbers in accommodation to the public ear !" " This would not be necessary. But if I were to make poetic selections for public worship, I should choose such pieces as are distinguished for chaste simplicity." " You would never approve of doggrels." "Not exactly. Yet if the people were attached to such things, and had connected them intimately with cherished enjoy- ments and remembrances, I should, for a time at least, be cau- tious in my interference." " Painting, as an art, will not admit of such a principle of accommodation." " Painting is not essential to the maintenance of public wor- ship. If it were so, we should be bound to select just such specimens, among those at hand, as would prove the most available. To begin with the master-pieces of an Angelo, a Titian, or a West, would be preferring taste to spirituality, and gratifying ourselves at the disadvantage of others." " But — there is something enobling in the arts." " Not to him who is ignorant of them, especially in the ser- vices of the sanctuary." RIVAL LEADERS RECONCILED. 121 '•Music is intrinsically beneficial." "So is painting, so is poetry, and so is oratory. Yet any one of these, when misapplied, may prove injurious to our devo- tions. The same is true of the misapplications of music. Taste is a valuable thing in religion only when made subservient to spirituality.*" Here the conversation changed, but the brief argument had done its work. Important views had been communicated, and the Bible was found to sustain them. The truth now Sashed upon the mind of the complainant, that he had been dispropor- tionately solicitous for the pleasures of refinement in taste. The resolve was formed. He called upon the merchant who was now leader of the choir, and told him that he would waive all points of difference, and lend him his kind and hearty co-opera- tion ; for he feared they had both sinned, in thinking more of the manner than of the spirit of praise. The merchant was surprised. The acknowledgment was unexpected. The meet- ing was a melting one. The two brethren wept, and com and prayed together. Thenceforward, in the work of improve- ment, they went hand in hand : and the progress of skill, of taste, and of spirituality, soon became manifest. There was no more trouble. Information increased. Right views of respon- sibility were inculcated; and the music of the choir became re- markably fine and impressive as an instrument of devotion. Many a choir and congregation at the present time might derive a useful lesson from the preceding sketch. Artistic influences are too liable to take the place of better things. 6 XXI. TASTE IMPROVES BUT SLOWLY. " Owing more To want of judgment than to wrong design."— Cowper. Few villages, in this Western world, are more pleasantly situated than that of H . It lies on the margin of a broad and beautiful lake, whose crystal waters are seldom bound by the hand of winter. The situation is remarkably fine, and the surrounding scenery delightful. The village is distinguished for intelligence, wealth, and refinement, and contains many no- ble residences. In its earlier days, it was noted for the excel- lence of its church music. It could then boast of several fine singers, whose performance of psalms, anthems, and motets, at the brick church, were unequalled among the neighboring vil- lages. And what was still better, these individuals were pro- fessors of religion, and they always delighted to shed around them the influences of evangelical piety. Most of the congregation at that time, however, were com- paratively indifferent to the music, and ignorant of the labor and expense which were required in sustaining it. It was skilful, and they praised it. It became popular among men of taste, and they were gratified with its high reputation. But they did not seem to appreciate it, either as worshippers or amateurs. Its most interesting features were lost to them ; and they were TASTE IMPROVES BUT SLOWLY. 123 deaf to its most impassioned appeals. They were also very backyard as to pecuniary appropriations. All this was a seri- ous drawback upon the enjoyments of the choir ; yet the latter waited patiently in the hope of better things to come. The choir became famous for its well-ordered arrangements, its sound principles, and its excellent performances, and they greatly enjoyed the singing as a devotional exercise. Rehearsals were usually conducted in a Christian manner ; and from time to time, individuals who attended them from motives of taste, would find there " the pearl of great price." and become pro- fessors of religion. This was encouraging. To be admitted among the members of such a choir was an enviable privilege. For it was a place of much personal enjoyment ; and the bless- ing of God was descending upon it. But the anticipated improvement among the people was long delayed. Taste, as a general thing, was making no progress ; and there was very little advance in pecuniary appropriations. This was trying. It seemed unaccountable. ' : What dulness ! What insensibility ! What narrowness of policy in musical matters !" But it was useless to complain. The people did their duty in other respects ; and in a more general point of view might be regarded as liberal and enterprising. Could it be that their want of taste was the result of physical or men- tal disabilities ? Several years had elapsed, and a change was now approach- ing ; but not such a one as had been fondly anticipated. The chorister, on whom so much had depended, was called to some distant part of the country ; and no one had been prepared to take his place. The person who now temporarily officiated was regarded as incompetent. Several of the leading singers, one by one, were vacating their seats ; some by removals from the place, some by death, and some through discouragement. Then 124 TASTE IMPKOVES BUT SLOWLY. was the time for efficient action among the church and people : but nothing would rouse them. " Singing," they said, " would sometimes decline ; and afterward have its seasons of revival." " This was to be expected." The subject, therefore, excited lit- tle concern ; and nothing was done to prevent the most rapid deterioration of the music. The singing had prospered many years, with little aid from the congregation ; and now it was destined to a protracted decline. The cause of the decline was not fully understood. It was attributed wholly to the loss of their remarkable chorister. Yet other choristers might have been obtained, who, though less self-denying in their efforts, would have been competent to sustain the music and lead on- ward to farther improvement. This measure was suggested by the singers ; but it would be attended with some trouble ; and would require larger pecuniary appropriations than had been usual. So the measure was abandoned. The declension was rapid. A few fitful exertions, occasionally put forth, were in- sufficient to stay its downward course ; and in a few years the music became as remarkable for its rudeness, as it formerly had been for its skill and refinement. But, at length, there was a general dissatisfaction. The choir were disbanded, and the singing quietly assumed the congrega- tional form. Many sitting in the assembly, had at some for- mer time been members of the choir. Accustomed so long to sing from principle as personal worshippers, they would not now sit in silence. Their feelings of taste were violated, but they would fall in with the majority, and do their utmost in aid of the new arrangement. The experiment for awhile succeed- ed nobly. Tunes which were plain and simple, and which all could attempt to sing, were introduced with new effect. Taste had levelled down to so low a grade, that the dullest of the dull could begin to enjoy the exercise. The people awoke from TASTE IMPROVES BUT SLOWLY. 125 their long period of indifference, and " improved their privilege." The singing seemed eminently devotional. The minority who had taste, were not a little disquieted by the jargon ; but they sung on, courageously, in self-defence, hoping for ultimate re- lief from some unseen cause. When the novelty of the arrangement had expended itself, it became evident to all that instruction was needed. Rehearsals were appointed, but the worst singers would not find it conve- nient to attend. A school was opened for the entire congrega- tion, but most of the seats were unoccupied. Children were benefited, and a few who had once been singers regained in some measure what they had lost by neglect of practice. This rather made the case worse. And as the singing was still de- teriorating, there seemed little encouragement for continuing the school. Meanwhile, the badness of the music became a general subject of remark. Once, by its excellence, it drew people " under the sound of the gospel," many of whom would be spiritually benefited ; now it had the opposite tendency of driving people away. The congregation, too, had on this ac- count lost several of its valued members. At some former time, the house of worship had been so crowded, that there were serious thoughts of colonizing for a second church ; now, so many had gone to other denominations, that individuals could not be spared for such a purpose. All this was attrib- uted to the influence of bad singing. One good thing, however, was effected. The former neglecters of the art had acquired an important habit, that of employing their own voices in the praises of God. The style of their singing was sufficiently bad, as might be imagined, after so many years of entire neglect ; but, now they were personally enlisted into the service, and were beginning to enjoy some of its pleasant influences. This, on the whole, was an important point gained ; for persons who 126 TASTE IMPROVES BUT SLOWLY. would become interested in a good cause, should have something to do in its promotion. But the bad singing could not be long endured. The people grew ashamed of it. Before one year had elapsed under the new arrangement, it became evident that a choir was necessary. Rehearsals and schools had failed, and no other remedy could be devised to stay the progress of deterioration. A man of little skill and of moderate standing in the community, was employed for this purpose, who drew around him a few indi- viduals of a similar class, and lead them, after a few rehearsals, into the deserted seats of the gallery. But what a choir! They had no taste, and but little skill. Their singing was mere burlesque compared with that of the other choir, which was still remembered by people of taste. Yet, though such per- formances could affect little improvement, they kept the music for awhile from deteriorating as rapidly as it had done while there was only congregational singing. In a year or two another chorister was appointed, whose talents were a grade higher. His charges were moderate, but his labors were un- satisfactory. Having neither piety, nor polish of manners, nor general information, his efforts were beneficial chiefly to children and to adults of his own class in society. The choir became enlarged as to numbers, and began to act with some success upon the singing below. The old members of the former choir were sorry for this. They had anticipated a very different re- sult ; and might now probably have to wait some years longer before the people would "come to their senses." The im- provement, however, was too slow to give general satisfaction. Unfavorable comparisons began to be made in the surround- ing villages, between the present and the former choir, which were not to be patiently endured. The present choir was not what it should be. It ought to be larger and more effective. TASTE IMPROVES BUT SLOWLY 127 It should be made respectable and influential, as in former years. Another movement was made, when, by the liberality of the people, a man of exceVJent talent was employed, on a salary which enabled him to give as much time to the subject of in- struction as might be desirable. Improvement became rapid and substantial. Large classes of children and of adults were thoroughly instructed. The choir increased in numbers and respectability, and improved in skill, till the voices of the con- gregation were completely under their control. Bad execution had chiefly disappeared under the hand of culture ; and many of the people could now lift up their voices in connection with the choir, to their own comfort, without injury to the performances. Taste had taken deep root among the people ; and all classes were pleased and benefited. Liberality increased, till there was no want of funds. The singing continued to improve both in manner and spirit ; and there was no longer any ground to complain of musical unsusceptibility or religious indifference in the exercises of praise. Never before had the exercises seemed so delightful or so uniformly impressive. Arrangements now became permanent. The people were of one mind upon the subject; and once more their example gave tone to church music amid the surrounding villages, accompanied everywhere with spiritual blessings. What was the cause of that sad and long-continued declen- sion ] The singers of the former choir were conscientious, self- denying, persevering, and spiritual. They endeavored to dis- charge their whole duty, so fur as they could ascertain it, in the fear of God ; and they doubtless met with His gracious accept- ance. They were never once at strife among themselves, or unmindful of the interests of the people. They were patient when treated with neglect ; and were seldom unduly elated by commendation. They felt their responsibility as Christian wor- 128 TASTE IMPROVES BUT SLOWLY. shippers, while leading the devotions of others in the house of God. Such a, choir, so talented, so intelligent, so faithful, and so persevering, had rarely been found. They ought, doubtless, to have been better sustained by the kind attention and liberal- ity, and co-operation of the people ; and more especially so at that trying crisis, when their excellent chorister was withdrawn from them. It was due to them. The expectation of such sup- port was perfectly natural. But, on the other hand, that choir, like many a similar as- semblage at the present period, overlooked a very important principle in their practical operations. Instead of regarding the lack of taste, and conception, and musical feeling among the people, as an incurable evil, to be endured with Christian pa- tience, they should have devised some other remedy than that of the extremest process of superinduction. Such a process, in matters of taste, was never yet known to succeed. People may be gradually lead, as their experience and observation have time to ripen ; but they can never be hurried blindly onward in paths of musical improvement and susceptibility. The reaction was inevitable. It might from the first have been confidently predicted. It had also its advantages. It en- abled the people to acquire habits of activity which would ever afterwards prove beneficial. It enabled them to begin at the foundations of taste, and build gradually upward. They were then learning important lessons in the school of experience; and would at length become personally interested and liberal in sustaining the music of the church. Once they looked upon the performances as upon classical speeches in a dead language, and were willing the declaimers should pay for their own learn- ing, as being the persons chiefly benefited. But they now could feel the influence of what was sung, and understand its import- ance. They realized at length the true value of church music, TASTE IMPROVES BUT SLOWLY. 129 in their own rich experience. Thenceforward there could be no difficulty. The latter choir stood on a strong and permanent basis. They enlisted the taste and sympathy of the people. When they performed anything which was difficult, the people sat as gratified, intelligent listeners, and when the latter united their voices, they were found to do so with increasing skill and discrimination. This led the people to prize more highly the advantages of instruction ; and now as they become dissatisfied with their own utterances, they will either seek for improve- ment, or consent to sit as silent worshippers. The reaction, as we have seen, had its evils as well as its ad- vantages. They were protracted and painful, and in some as- pects, permanently injurious to the interests of the congrega- tion. All these might have easily been prevented by the first choir, if they had better understood the necessity of consulting the actual susceptibilities of the people. 6* XXII. NECESSITY OF GOOD LEADERS. "O'er the side stops his awkward fist he flings."— Cawthorne. The old stone church in the densely-populated town of N , which lies in the vicinity of the wildest mountain scenery, has always been remarkable as the abode of pure orthodoxy and Christian activity. The choir of that church, from the earliest organization, embraced right views of duty, and endeavored faithfully to maintain them in all their rehearsals and perform- ances. Among the members were some of the pillars of the church, whose influence was greatly beneficial. If the choir would sometimes by ill habits or associations, be diverted from the strictest rules of Christian decorum, they would soon be led to restrain their wanderings. They were easily reclaimed and kept in the path of duty. They were remarkable for unanimity and kind feeling. They knew nothing of those petty bicker- ings and jealousies which so often arise in the absence of Chris- tian principle. They were happy among themselves, and were well sustained by the good feeling and liberality of the congre- gation. But nothing in this world is perfect. The best organizations cannot always exclude trouble. The troubles in the choir of the Stone Church were occasioned by leaders, who, though good NECESSITY OF GOOD LEADERS. 131 men, were, as musicians, incompetent to sustain the responsi- bilities they assumed. The first one who officiated was not destitute of skill, but he was afflicted with partial deafness. His drillings would do more towards strengthening the voices than keeping them in tune. He was zealous as he should have been in promoting vocal de- livery ; but making his own ear the criterion of the utterances, he rendered the harsh elements of the consonants too painfully prominent. The whistling of sibilants, the puffing of aspirates, and the muttering and murmuring of other elements, were so extreme as to fatigue the singers, and mar the beauty of the language. The enunciation was labored and rough. These difficulties were sufficiently regretted, but as no better leader was at hand, they were endured for several years, although a hinderance to the progress of taste, and a blight upon the sus- ceptibilities of Christian enjoyment. At length they felt com- pelled to look for and obtain a new chorister. He was not afflicted with deafness ; but the loudness of his tones in speech and in song would suffice almost to bring that affliction upon others. He was not remarkable for modest re- serve. He was always ready to " show off" his small amount of knowledge for the benefit of those around him ; and he had a dogmatical way of doing it, that was quite ridiculous. He was greatly scandalized by " the hissing, and buzzing, and wheezing" of the singers. They could " 'nunciate well enough, without so much fuss with the letters." He would have them "always mind the beat, and keep time" — "right up to the mark" — " mind the legater and stacater" — " put on the swell and diminish" — "short at the small rests" — &c, breaking in with the words of command in loud potentials, amidst the strains of the practice-room, as if he had been a militia captain on a day of general muster. This method was so habitual with him, 132 NECESSITY OF GOOD LEADERS. that he could not wholly refrain himself upon the Sabbath. The singers, he said, were people who knew how to sing with the Spirit, and he would " be on the look-out for style." So the hymns in the seasons of worship would be continually ac- companied by his hackneyed potentials, in audible whisperings, just as if drilling and devotion were congenial exercises. We are aware that, in every act of social worship, some at- tention mnst be paid to manner. This is needful for the benefit of all who are present. But while singing in the solemn as- sembly x the needed suggestions should be more like the self- promptings which arise in prayer, than like the dictations of the class-room. The latter would be decidedly out of place. This, however, was a distinction too minute for the apprehension of the enterprising leader. He was " bound to be thorough." " Every one," he said, " must have his own way, or he can never work to advantage." The choir submitted, for awhile, to the only alternative; but, as the whisperings grew more troublesome, and began to be complained of by the congrega- tion, a change became indispensable. The third incumbent was a man of better manners and sounder judgment. His deportment was kind and affable. He knew something of style and adaptation, and though gentle in spirit, was full of energy. He had the ardor of an enthusiast. He was a man of sincere piety, and thought much of promoting right influences ; yet he was wanting in discrimination, often mistaking musical sentiments for devotional feeling. This deficiency was first noticed in the practice-room, where, in connection with the most solemn verbal utterances, his atten- tion would be wholly absorbed by the music. His thoughts were given to the dynamics of the art, rather than to the liv- ing spirituality of the consecrated words, which, to the minds of well-trained singers, would instinctively suggest the right ex- NECESSITY OF GOOD LEADERS. 133 pression. This was a sin of ignorance which created some dis- comfort. But a further difficulty was. that, when absorbed in sentiment, he would lose the command of his own voice, sing- ing at once the loudest and the worst of everybody around him. This was sufficiently troublesome at rehearsals, where his prac- tices and precepts would sometimes be sadly at war ; but at church it would every now and then destroy all the sweetness and expression of the performances. When apprized of this fault, he would seem to regret it, but said it was natural to him. When his feelings were so much excited, he must sing out. He could not restrain himself. He was not impatient under kind reproof; but he imagined that his habits were incurable, and that they could not prove injurious, to any serious extent. "The choir must not expect too much from their leader." " No one perfect." He was a pleasant man. So they winked at his faults, and finally parted with him reluctantly. He was succeeded by a man who always sung with power. Dynamics were nothing to him. His tone was reedy and un- cultivated. He could "do nothing with diminuendos." His voice must either break or go at full blast. He had no ex- pression ; and very limited skill. Every tune would be sung in the same mechanical, stereotyped manner. He loved sacred music, and entertained Christian views respecting it ; but this was ail. He had no other qualifications as leader. The sing- ers were seriously incommoded ; and during the year of his services the style rapidly declined. The next leader was a remarkable man. He was not want- ing in skill or susceptibility. He had more talent and discrim- ination, and more tact in management, than either of his pre- decessors. He had also too much discernment to mistake musical enthusiasm for religious feeling. Through his exertions the singing soon revived. He secured a good style of vocal Id4 NECESSITY OF GOOD LEADEKS. delivery, brought the choir to be good timists, and lead them to sing with more taste and better expression. But, unfortunately, he was of an irritable temperament, and at times was greatly deficient in self-control. This was a constant source of solic- itude on the part of the choir. They sought to keep him quiet, but did not always succeed. If the choir were punctual at the rehearsals, and successful in musical practice, he would usually maintain a kind and cour- teous deportment, and render everything pleasant around him ; but if they were at all negligent or unsuccessful, his horizon would be sadly overcast. His " eyes would snap," his speech become hurried and gruff, and his mutterings as stern and un- musical as distant thunder. " No use in rehearsals" — " always late" — "learn nothing" — "sing worse and worse" — "always out of time" — " out of tune" — " no expression" — " too bad' 1 — "no business to sing so" — "no use in trying to lead such a choir" — " always something out of joint." This habit had be- come second nature to him. Even at church he would not always refrain himself. If the singers by any means failed to please him, he would grumble in hurried pianissimos between the stanzas, if not in the midst of a tune — " too careless" — " no business to sing so" — " miserable expression" — " no use in try- ing" — " sing as you will" — " won't lead such a choir" — " I'll be off when my time is out." At other times, the leader was " everything that could be de- sired." He was kind and condescending. He sang with pecu- liar sweetness and emotion. He led the music with becoming solemnity, and appeared deeply devout and sincere. It was then a great privilege to be near him. Yet the singers were afraid of displeasing him, for when thrown off from his balance, there was "no living with him," till an equilibrium could be restored. He knew his infirmity, and regretted it deeply, sometimes NECESSITY OF GOOD LEADEKS. 135 •with tears. But he would not seem to be the same man in the two circumstances ; nor had he precisely the same conscience. When sorely vexed, the evil was of course imputed to the sing- ers. They had justly offended him ; and he was giving them a merited rebuke. It was right that he should be a thorn in their side to stir them up to duty. It was only when the par- oxysm was over, that the subject would appear to him in its proper light. After all, he was an interesting man, and the singers loved him. They pitied his infirmity, and would take no offence at his occasional abuse. The singing improved, and became truly excellent. It was often connected with rich enjoyment, while the leader was in his better mood. But his " tantrums'' were increasing in frequency, and the dreaded paroxysms were grow- ing more severe, till they assumed somewhat the appearance of partial insanity. Some suspected him of inebriety ; but it was difficult to substantiate such a charge in days when moderate drinking was countenanced. Probably there was not much ground for the imputation. But the injurious suspicion put a period to his usefulness, and at the close of his second year the appointment was not renewed. The next leader was an entirely different man. He was " an easy, good-natured soul." Everything went well with him. He had skill and discrimination as a singer ; but as a leader, he manifested little energy. He had no tact or shrewdness in management. He seemed to be one of those good men who just keep the breath of life within them, but have little indus- try, courage, and enterprise. He sung rather languidly, drilled but little in the practice-room, and always led on the Sabbath as if he was following at the dictation of the singers. He was liable to be drow T sy in sermon time, especially after " a hearty dinner," and would often be M caught napping" when the hymn 136 NECESSITY OF GOOD LEADERS. was given out from the desk. Of course, he was no leader. The music went as if self-directed ; and before the year's en- gagement closed, was sensibly declining. But what was now to be done 1 Six different leaders had been tried, not one of whom had failed to become a serious drawback upon the religious enjoyments. The experiments had been tried for a sufficient term of years to show that some different plan should be adopted. Some were now in favor of giving the whole direction to an organist ; but where would they find a suitable man % Others said that musicians are al- ways troublesome ; and that few among them had much energy of mind. Those were slanders, the mere offspring of prejudice. Others still, insisted that choirs were always getting into trou- ble ; and that no plan of management could long succeed. These were mistakes ; too many examples of comfort and stability could then be adduced. At length, the true secret was discov- ered. Choristers should be thoroughly instructed and trained for their employment, and then, if they require it, be paid for their services. A liberal annuity was at once subscribed. A man every way qualified for this position was secured ; and from that day forward, the troubles of the choir at the Stone Church were at an end. Few congregations in the country are willing to incur the ex- pense of hiring a talented leader. Nor will this always be ne- cessary. Children should be universally instructed in the rudi- ments of music ; and in every adult singing-school some one or more individuals may easily receive special training as leaders. This plan has been attended with happy results. XXIII. A CHOIR CONVERTED. " .Search me and try me."— David. The late Rev. Mr. B . though a good pastor, and a suc- cessful preacher, was extravagantly fond of literature and the arts. He listened to a fine piece of music, just as if he was examining the masterly productions of the pencil or the chisel, and he thought no more of the artists in the one case than he did in the others. In this respect, his views did not differ from those of the multitude around him. The church of C , of which he was pastor, regarded the music of the choir as a neces- sary concomitant of spiritual worship, but not as a direct and solemn expression of devotion. The young people, therefore, had always been allowed to conduct the singing according to their own notions of propriety. No member of the choir was distinguished for piety, and there was little feeling of religious obligation regarding the office of praise. But, as the pastor was fond of music, he would often be present at the rehearsals, and close the exercises with " a few words of prayer." The singers were gratified with this attention. The pastor's affec- tionate spirit, his polished and condescending manners, together with his quick appreciation of everything tasteful in their per- formances, had completely won their affections. They loved 138 A CHOIR CONVERTED. him, and were ever ready to follow his advice. They were re- markably united. They knew no troubles. But they were fully conscious of the possession of skill, and when the pastor commended them for their improvement, they felt as if they had been more successful than might have been expected. They were doing a great work. They were sustaining an im- portant portion of the religious services in a very creditable manner. Instead of looking inward at the actual state of their affections, they cast their eyes upon the worshippers before them, to feast upon their smiles of approbation. They did not pretend to be worshippers, but fine music was so useful and so delightful, that even the eye of Heaven, they thought, could not look upon it with indifference. Was there anything wrong in the taste of the beloved pas- tor ? He was tenderly alive to the spiritual interests of his people. Objects of taste have their advantage, even to the Christian. In the teachings of one who could not err, we are referred to the beauties of nature, as worthy of admiration ; and we may delight in the flowers of the field, and the lilies of the valley, without inquiring what unsightly objects beneath the surface of the soil may have contributed to the vigor and beauty of their appearance. And we often go to the exhibitions of human art with similar feelings. What is it to us for the moment, whether a Madonna, a landscape, or a statue, has been produced by a holy or a sinful man 1 It is the artist, not the man we admire. We are astonished at his powers, and are tempted almost to award to him the honors of an apotheosis. And when listening to an oratorio, the object is to enjoy as we may, the wonderful skill of the composer, and the fine talents of the performers. And we can be gratified with these exhi- bitions of art, without inquiring into the private character of those to whom we feel so much indebted for our gratification. A CHOIK CONVERTED. 139 If everything appears decent and orderly, and if public scandal has not set its mark upon any of the individuals before us, we inquire no farther. We feast ourselves with the entertainment ; and fancy, perhaps, that persons who sing sacred music so sweetly, must have " the root of the matter" within them. It was precisely thus with the pastor in reference to the per- formances of the choir. Scarcely an individual among the members was a professor of religion, or at all remarkable for seriousness of deportment. But all were decent and orderly in their behaviour, and they sung with remarkable sweetness and taste. Many people of high standing residing in that place, had thrown their influence into the choir, and given it perma- nence and respectability. The selections of psalmody were from the best sources, and all were gratified with the excellence of the performances. And who could tell ? Many who sung so expressively the great themes of salvation, might, after all, have the breath of spiritual life within them, though they knew it not, or were too timid about making the acknowledgment. At a concert, or at an oratorio, when the express object was amusement, the pastor had often felt the kindlings of Christian susceptibility, but on the Sabbath, this experience had been more uniform and satisfactory, in connection with the songs of praise ; while the choir would appear to sympathize with him in his hallowed susceptibilities, as if they really understood them. Here, at least, he imagined there was ground of hope. Church music is of heavenly origin. It is intended as a means of grace ; and how easy would it be for the divine Spirit to add his converting and sanctifying influences, where there was so much preparatory work ! True, he was grieved at the world- liness of the singers, but even professors of religion are some- times ensnared by the world. The choir would absent them- selves from the weekly lecture ; yet this might be owing to the 140 A CHOIR CONVERTED. miserable singing of the worshippers, which he himself could never enjoy. Their taste was offended, and absence was their only remedy, Many of the church would be influenced by considerations which were less excusable. On the whole, he would " hope for the best ;" and he doubted not, that sooner or later, he would see many of the singers come out from the world, and unite themselves with the people of God. As years passed on, musical taste was increasing and extend- ing itself. Associations were formed for its promotion. Splen- did organs were procured for the churches. Concerts were given for the public gratification. On these occasions, being often called upon, the pastor of the C church would pre- pare himself for a brief lecture, drawn chiefly from the annals of taste. As a Christian minister, he was bound to say, that God required the homage of the heart in the offerings of praises. But, while he freely admitted this, he would not press the con- science very strongly in such seasons of amusement. He would speak like the artist and the amateur, as if there were some- thing of heavenliness in the art itself, which might lead the singers ultimately to feel as they should do, on the great sub- ject of religion. This hope, so comfortable to the speaker, would sometimes reveal itself in moments of inadvertency. The singers were quick to discover it. There was little probing of the conscience in this matter, and many an impenitent one, it is feared, went on, singing himself, as he imagined, into the ultimate privileges of a Christian immortality, but was destined to be disappointed. The choir became famous for talent and respectability ; but the pastor's hope of spiritual blessing was long deferred. At length he was removed to another field of labor, and succeeded by one whose views of church music were more evangelical. The latter was a wise and devoted pastor, ready, in the apos- A CHOIR CONVERTED. 141 tolio sense, to become " all things to all men," that he might be the means of their salvation. He was fond of music. He at- tended schools and rehearsals, as often as might be consistent with other engagements ; but he had not all the enthusiasm which had been manifested by his predecessor. The singers noticed this with regret. They thought him lamentably defi- cient. It was true that he prayed for them with earnestness ; but he seldom complimented their skill, or said anything which was encouraging to self-esteem. He evidently enjoyed the music, and his personal attentions were sufficiently kind ; but why was he so sparing in his commendations 1 The truth was, he saw that self-esteem must be undermined or it would prove ruinous. It could never lead to repentance or faith in Christ. He could not trust, for one moment, to any inherent heavenliness of the music. The religious influences of the art in public worship, he thought, must depend on the con- secrated purposes of the performers. This was evidently Paul's view of the subject ; and what could there be in the progress of art which should change the nature of divine precepts ] This, he was aware, was not the popular view of the subject ; but it was the only view which could be sustained by the Bible. But the new pastor pressed these points wisely. His manner of in- struction was gentle and affectionate ; and he waited with much patience for the gradual success of truth, against the influence of habits and notions which had been of such long standing. His labors were not in vain. For a time the singers were dis- heartened. The " new views" might be according to the scrip- tures, but they were " very discouraging." They would " destroy all ambition." The choir began to grow remiss in their exer- tions ; but conviction had begun its work. It was gaining its hold upon the conscience. A gentle revival of religion ensued. One after another of the singers, ashamed of former heartless- 142 A CHOIR CONVERTED. ness in the service, confessed the delinquency, and consecrated themselves anew with heart and voice, to the solemn work of praising God in the sanctuary. These instances increased in number till a new influence was felt by the choir and congrega- tion ; and as the singing again revived, it became as remarkable for spirituality as it formerly had been for artistic excellence. The latter were not now discarded, but they were rendered happily subsiduary to the higher claims of spiritual worship. The success of such affectionate, patient, faithful dealing, might naturally have been expected. Many examples of the sort have occurred in years that are passed ; and many more, we trust, will be witnessed in time to come.. Adult singing schools and choir rehearsals are promising fields for Christian effort. What a pity they are so often neglected. XXIV. A LEADER GETTING BEHIND THE AGE. " Of these things put them in remembrance."— 2 Timothy, 2: 14. Forty years ago, in one of the inland cities of the East, re- markable chiefly for the virtue and the enterprise of its inhab- itants, a congregational church was instituted, a pastor was called, and a noble edifice erected for public worship. An effi- cient choir were needed to complete the arrangements. A few individuals were ready to volunteer their services for this pur- pose, if they could be sufficiently sustained as to numbers and influence. But here was a difficulty. Many who could sing well, inclined to shrink from such conspicuity. Ideas of wor- ship had become associated with notions of personal display. What would their associates think of them, if they were to " show off" before such a mixed assembly ! At a splendid evening party, they felt no such scruples. They could even covet the privilege of singing at such a time. This was in ac- cordance with the customs of good society ; but to stand up with every sort of people to sing psalms at church, was a very different thing. It was not by every one considered respecta- ble. At best, it was not an enviable position ; and there could be no harm in refusing the invitation. At first, they were chiefly young ladies who declined the service. Not quite satis- fied with their real motives for declining, they invented frivo- 144 A LEADER GETTING lous excuses, which might serve to shield them against impor- tunity. There was one gentleman, however, who strongly seconded the views of the ladies, and he began to influence others of his own sex. Somewhere, in his occasional peregrinations, he had seen a large humorous picture of a country choir, executed to the life by some distinguished artist. There stood the awkward personages with open mouths, uplifted hand, and staring eyes, grinning at each other, or stealing glances at the congregation, as if desirous of applause ! The scene was altogether so ridic- ulous, that he at once decided that no gentleman ought to be- long to a choir of singers. He, too, kept his secret, till it was dragged from him by force of argument. But his mind was fixed. Other gentlemen might do as they pleased, but he meant to maintain his ground, and do all he could to sustain the decis- ion of the young ladies. The pastor understood the position of things, but had not yet committed himself. He was a man of quick discernment ; but though he discovered what might be passing in the minds of some of his people, he kept his secret and prepared for efficient action. With much careful inquiry, he at length obtained a teacher after his own heart ; a man in whom he could fully con- fide. On the eve of establishing the school, it was fitting that he should address his people on the subject of praise. He knew they had a tender conscience, and he prepared himself accordingly. He gave them no artistic harangue. He indulg- ed in no imaginative speculations, or philosophical inquiries. He spread before them their solemn obligation to sustain the praises of the sanctuary in the best possible manner. The question before his people was not one which might be easily set aside. It was not to be decided by the mere notions of men or the customs of society ; but by the irrevocable decisions of BEHIND THE AGE. 145 inspiration. The possession of talent implied obligation. Those were bound to be the most forward in the work who possessed the best qualifications. It would not answer to trifle with such a subject. There was no escape from responsibility. Each in- dividual must settle the question for himself in the fear of God. Praise was a good work. It was the joy of angels and glori fied spirits in heaven. If any one imagined that this work was not sufficiently dignified and respectable, let him use his en- deavors to make it so. He was the very man who should never be excused. God has said, " Whoso offereth praise, glori- fieth me :" and is there no sin in withholding from him the glory which is due to his holy name % Such a solemn appeal had not been anticipated. The subject was presented in a new and interesting aspect. Conscience was enlightened and quickened. There was shame and blushing on that day ; for many who had been the most backward in the enterprise were professors of religion, whose example had been injurious. A second appeal was unnecessary. The school prospered. A large choir was soon formed, embracing the very same individuals who had so determined to excuse them- selves. The young gentleman forgot the ludicrous picture, and the young ladies lost all fear of conspicuity. For a year or two, the teacher continued his services as leader of the choir. His ardent piety, his amiable manners, and his intelligence and skill, greatly endeared him to the choir and congregation. But now that the object had been so happily accomplished, considerations of economy led to a relinquishment of the ser- vices of the teacher. The teacher had foreseen this movement ; and had trained one of the members of the choir, as far as was practicable, to supply his place. This measure created some dissatisfaction. The singing was beginning very gradually to decline, and there were some appearances of the revival of for- 7 146 A LEADER GETTING mer notions. Again the pastor addressed his people on the subject, yet not with his former success ; for, now the novelty of his argument had expended itself, while sophisms and false refuges enabled many to escape from its influence. This would never answer. The beloved teacher must be recalled, and put upon a salary which should make it his interest to become a citizen, and attach himself permanently to the choir and con- gregation. The measure was carried into effect ; and the ar- rangement was highly satisfactory. The singing again revived, and continued to prosper. Mr. V was not less remark- able for consistent piety than for musical acquirements. His in- fluence was not feeble or temporary. -He maintained his posi- tion for more than twenty years before any serious difficulty occurred. The population of a city is fluctuating ; and there is often an unreasonable fondness for changes in management. The first appearance of dissatisfaction was in reference to the selection of tunes. A class of young people had come into the choir, who were anxious for new music — the newest of the new. The leader would confine himself to the same good old melodies, till many of his singers became wearied and disgusted. To him, these melodies were very precious. For a series of years they had been strongly associated with devotional thoughts and feelings, and scenes of thrilling interest. They were like old, affectionate acquaintances. They were also good tunes, and tunes of high celebrity. How could he cast them aside ! But the new generation of singers thought differently. They had no such cherished remembrances to fall back upon. Mental associations were yet to be formed. And what if the tunes had merit? They now seemed old, and quaint, and time-worn. " We may have too much, even of a good thing." The leader should have considered the matter more seriouslv, and have BEHIND THE AGE. 147 yielded somewhat to the feelings of his younger associates. It was due to them. Taste is necessarily progressive ; and it is impossible to sing well unless our feelings can in some measure be gratified. The leader was conscientious. With a heart full of kindness to individuals, he thought it wrong to be governed by their wishes. He retained their affection ; but they felt the disappointment, and were somewhat disheartened. The singing began to decline. There was a heaviness and an appearance of languor among the singers, which attracted general observation. The second difficulty was occasioned by the introduction of a large and splendid organ. The older members of the choir, accustomed for so many years to a light accompaniment, had learned to enjoy the commingling of sweet voices in melody and harmony, heightened by dynamic varieties of expression. All this was to be lost. The voices were to be overwhelmed and stifled by the deafening appeals of an instrument of resist- less power, put into the hands of an artist who was ambitious of display. The leader had foreseen the difficulty, and spoken of it w T ith becoming solicitude. But the people, so long ac- customed to leave everything to his management, had themselves acquired no definite information ; and now, since the music was seen to be declining, they very naturally inferred that he must be getting behind the spirit of the age. Why should they not be influenced by the example of other churches 1 They ought to have the best instrument and the best performer in the city. The leader became disheartened. He was losing his influence. Even now, he might have rallied, if he had better understood the position of things. The people would soon become tired of such powerful instrumentation, and consent to some change in favor of vocal effect. This was not foreseen. The old sino-. ers left in disgust ; and the younger ones formed the majority, as to numbers and influence. 148 A LEADER GETTING Now, certainly, the selection of tunes should have had some reference to the circumstances, and the wishes of the singers. The latter entertained kind feelings toward their leader, and would have been easily satisfied. But, he was sorely tried. In his perplexity he yielded too little. The organist would have readily sympathized with the leader in his taste for selec- tions ; but discovering what kind of people he had to deal with, he sided at once with the singers. The leader soon perceived that the place was becoming too straight for him ; and presuming upon the kind feelings of the people, he thought it advisable to tender his resignation. He did so ; when to his mortification it was accepted. At first he imagined that his days of usefulness in that department were over ; but when he witnessed the mis- rule and the mismanagement that ensued, he began to anticipate a recall to his former post of duty. In this he was not disap- pointed. What he had predicted became a matter of history. The people were in trouble : who could extricate them but the excellent Mr. V 1 Where was there a wiser counsellor in such matters, or a more efficient man % And where, after all, would they find a more talented leader ? But, unfortunately, for the last twenty years, and ever after the first struggles were over, the entire responsibility had been thrown upon the salaried leader. All care of the singing had been cast upon him. The pulpit had withheld instruction on the subject, till former teachings had been nearly forgotten ; and now the pastor, somewhat in years, began to tremble for his own popularity. He could no longer exert himself as for- merly. The people would have their own notions. There was a great want of intelligence and unanimity. The recall of the leader had been so long delayed, as to afford him ample time for consideration. A salary was no object to him. The position would be an unpleasant one. There would BEHIND THE AGE. 149 be no relief from its embarrassments. He could not calculate upon the influence of either pastor or people ; for they had called him for the express purpose of extricating themselves from trouble, and casting £11 their responsibilities upon him. The whole position of things was now unfavorable. Was it his duty to sacrifice his remaining influence, and subject himself to so much discomfort, where there was every probability that he would fail in his efforts ? He wisely declined the appointment, and retained his seat in the congregation. It was well that he was a patient and peaceable man. Such repeated changes of management ensued, as might otherwise have rendered him restless and troublesome. Nothing could satisfy the people. There were no contentions. There was, perhaps, no evil-speak- ing : but there was just that restlessness under the performances which chilled the fervors of devotion. After several long years of endurance, an organist " came into power"' who understood vocal effect, and who was himself a sincere and humble wor- shipper. Once more, there was order and decency, appropriate skill, and pious susceptibility in the music of that church ; and the choir, with a leader of modern taste, and an organist whom they esteemed, could all rejoice together in the exercises of praise. An important lesson had been given to the people. Had their former leader been decidedly a man of progress, and had he been sustained by the unremitted co-operation of pastor and people, there would have been no re-action, and probably no material decline of interest. But the strong pro- pensity to neglect this subject and shake off responsibility, must always sooner or later occasion disaster. Why should it be otherwise ? Will any of the interests of religion be found to thrive under such neglect ? The idea is preposterous. XXV. A PEEP BEHIND THE CURTAIN. " And all the men and women merely players." — Pops. Some thirty years ago, choirs that were regardless of religious responsibility, were often left to their own direction as entirely as if they had belonged to separate independent communities. They seemed to be regarded as evils which must be patiently tolerated, or as lawless assemblages incapable of religious cul- ture. No wonder that they should often be in trouble, and bring disgrace upon the congregation that were connected with them. Sometimes, however, the tempter, when they were wicked enough to suit him, would seem to let them alone. The choir in the E church, of one of our oldest cities, may serve as an illustration. It consisted of a few obscure per- sons, who had more vocal power than taste or sense of deco- rum. The ample curtains which hid them from the gaze of the assembly kept many unsightly scenes from view. The choir attended to their music, but cared little for the rest of the exer- cises. They were fond of nuts, and candies, and raisins, and of lemonade. They would be busy with their pencils in " sermon time" — not in taking notes, but in making sketches of things around them. Or they would be marking the blank-leaves of their books with senseless rhymes or rude caricature likenesses ; or would be carrying on a humorous correspondence. Whis- A PEEP BEHIND THE OLIU'AIN. 151 pering, winking, and sly tricks of comicality were common ; and when invention was exhausted, they would soothe them- selves with refreshing slumbers, like many of the nodding ones below. Their chorister, the vociferating clerk who led the responses of the people, was a clever man in the Yankee sense of that word ; ignorant, ill-bred, and destitute of all dignity. He had not sufficient influence to keep order in the choir, or sufficient self-command always to steer clear of personal entanglements. He thought it a great pity for singers to break the Sabbath, and would sometimes gently remonstrate. But it was plain that he was not inaccessible to temptation ; and the choir would con- trive to keep him sufficiently implicated to prevent him from exposing their mischief. On one occasion they went a step further, and induced him in an hour of weakness to become the principal actor. At the close of a State election, in which he had taken a deep interest, every mail was big with important intelligence. During the services, a messenger was sent to the post-office for news of the returns. He came back in the time of prayer, when the clerk-chorister, with book in hand, mingled his loud devotions with his whispering interrogatives. " Amen ! What is the news from A county 1 What is it from B 1 Amen ! How large did you say was the majority. Amen! What is the news from C ? What is it from D ? How many? Good! We shall beat them yet. Amen! What is the majority in the county of E , and of F ? Well, I expected that. Amen ! Are the other counties heard from V His inquiries were promptly answered, and the dialogue was kept up for his special benefit, till the utterance of the final " Amen /" when the scene was changed from prayer to praise with about the same evidence of personal devotion. 152 A PEEP BEHIND THE CURTAIN. A man of better principles had taken his seat with the choir that day for the first time. In their zeal to lead the chorister astray, they had not thought of him. He was shocked at the ungodliness of the scene, and lost no time in giving information to the constituted overseer of the church. What was to be done % Must the singers be disbanded ] No. Others could not be found to supply their places. " Singers, like organ- pipes, will sometimes be out of tune ; they are not regarded as worshippers." Must the clerk-chorister be displaced ? Not at all. He has many influential friends. He must be privately reprimanded, and on a promise of amendment be allowed to keep his place. He gave the pledge of good behavior which was required of him ; but he was still surrounded with the tempters, who had bound themselves by no such engagement, and who would doubtless continue to lead him astray. When we look back upon such scenes of unprincipled mis- behavior, we wonder that they could ever have been tolerated for an hour. If there had been any real necessity in the case, there might have been some shadow of an apology ; and then the utility of choirs might well have been questioned. But how did unprincipled singers gain the ascendency 1 Was it not pos- sible for Christians to learn to sing ? Or was there really no obligations resting upon them to become active in the praises of God ? XXVI. OLD FOLKS vs. YOUXG- "Did read by rote and could not spell." — Shakspkark. There is an extensive farming district in one of the oldest states of the Union, which was once overrun — not with white daisies, or Canada thistles, but with " Yankee patent-notes/' They operated as a paralysis to musical enterprise, and formed an insurmountable obstacle to the progress of taste. Good music is not to be obtained without intelligent instruc- tion and practice. But here was a plan of learning to sing without study or labor ; of acquiring skill without tasking in- genuity. This plan, like some analogous ones still advocated by superficial thinkers, virtually proposed to help the pupil on- ward by relieving him from the very kind of effort which was indispensable to sound and thorough progress. Such plans are sure to deceive expectation. They may seem inviting at first, but they give temporary facility at the expense of ultimate per- plexity and discouragement. A painter cannot be produced by machinery, nor a poet by a rhyming dictionary. And a mu- sical student who would prosper in his studies, must avoid all analogous contrivances in notation. It is enough for him that the " round-note system" 1 has become the written musical lan- guage throughout the civilized world ; that this language has been adopted after countless experiments of every name and 7* 154 OLD FOLKS VS. YOUNG. nature ; and that in it are recorded the whole amount of mu- sical materials of every age and country. One of the most permanent evils arising from such contriv- ances is, that they hinder the people from acquiring any sat- isfactory amount of practical knowledge, and encourage low and limited views of the art. How far the choir in the village church of P , were influenced by the use of " patent notes," it is impossible now to ascertain ; yet, before they adopted the " round notes," they had learned to undervalue musical attain- ments, to be inattentive to instruction, and negligent of effort. They were not partial to innovations. It was enough for them that they could read " the old way." For many years they would not pay sufficient attention to exercises in round notes, to enable them to read the plainest tunes, a thing that might easily have been accomplished in some eight or ten evenings of well- directed practice. With books in hand, they trusted chiefly to memory ; and as persons immersed in business, and advanced in years, were among their numbers, there M T ould often occur some painful deficiencies of recollection. Portions of different tunes, through forgetfulness, would be strangely intermingled. A stanza would sometimes commence with one tune and end with another. And every now and then, a tune which " started well," would " bring up at the middle," or be converted to a trio or solo before the close. Whenever such occurrences be- came too frequent for endurance, a school would be opened just long enough to "jog the memory," as to old tunes, and supply it with some twelve or fifteen new ones. There was no increase of skill, or progress in refinement. At one time a small list of tunes was given into the hands of the teacher, which, when committed to memory by the choir, would be a signal for his dismission. At another time the teacher was employed for the purpose of initiating one of the OLD FOLKS VS. YOUNG. 155 singers into the office of chorister, who needed special training. As soon as the latter could u beat the time, and give the pitch with accuracy,*' and learn to be governed by the general move- ment of those around him, the task was accomplished, and there was an end to instruction till another exigency should occur. This was a fair specimen of the management which prevailed in the surrounding villages. Schools were unfrequent, and of short duration, and weekly rehearsals for mutual improvement were then unknown. The people wondered why the singing, after every period of instruction, should so rapidly decline. The benefit of instruction, they said, seemed so small, as scarce- ly to compensate for the effort and expense attending it. Teach- ers, therefore, would be poorly paid, and they had little induce- ment to become better qualified for their employment. There were also some social evils connected with singing schools, which were imagined to be necessary concomitants. So entire- ly blind were the churches of that district to the course of in- struction which the circumstances demanded. The younger members of the choir in P , were at length becoming dissatisfied. They were in favor of progress. The teaching was too limited, and too superficial. They desired something better. But they were yet in the minority as to numbers and influence. The older men were efficient singers, and some of them were pillars in the church and congregation. They were quite intelligent on other subjects, and generally speaking, were not behind the age in enterprise. But in music, they insisted on the maintenance of the same narrow-minded policy which had so long been pursued. The truth was, they were so busy in other matters, and so far advanced in life, as to be unwilling to commence any thorough system of musical practice, and thinking very properly that the young people ought not to be wholly left to themselves, they saw no other 156 OLD FOLKS VS. YOUNG. alternative than the one which was occasioning dissatisfaction. Their numbers, however, were diminishing, and the time was not far distant when they would be in the minority. Musical improvement cannot, in the nature of things, be impeded with- out serious injury to the interests of psalmody. The dissatis- faction increased. At length the struggle came on. Neither party would yield its position. Two rival schools were simul- taneously established, the one on the usual plan, under charge of a pious, though inefficient teacher ; the other, on an improved plan, under a teacher, who, though not a professor of religion, was a skilful man, and a man of sound principles and unexcep- tionable morals. The former party accused the latter of un- worthy motives, which, of course, they wholly disclaimed. A talented, pious teacher, could scarcety then be found ; for the churches in that district had long been treating the subject with indifference. The young people had made the best selection in their power. Both schools, however, could not be sustained. So an aged counsellor was called from a neighboring village, to bring about an accommodation. He sought in a private way to reconcile the parties, by admitting to each, that to some ex- tent the other might have been wrong, which was really the truth. But no. Both were inflexible. There was no intention of yielding, and the venerable friend came to the parish meet- ing which had been appointed, without the least hope of effect- ing an accommodation. There was a full attendance at the meeting. One thing after another was proposed by individuals, but to no purpose. Both the teachers sent in their resignations, but they were not accepted. The parties grew clamorous. The one, presuming upon their superior influence in the society, forgot the kindness and forbearance which were due to youth ; the other were equally forgetful of that deference which was due to age. The irritation increased, and drew forth on either OLD FOLKS VS. YOUNG. 157 hand opprobrious epithets, which added fuel to the flame. The meeting became disorderly and clamorous. The venerable visitor, who till then had sat in silence, arose to address the meeting. In a moment all was silence, and breathless expecta- tion. " My friends," said he, " I am exceedingly distressed for you. I can do you no good." And they saw his chin quiver with emotion, while his eye beamed with unwonted tenderness. " I had thought the spirit of praise immeasurably more essential than the manner ; but to-night all our discussions turn upon ex- ternals, while by our impatience and strife, the blessed Spirit has been grieved away from us. We have sought out our own devices, and are in trouble. No doubt the manner of praise has great importance; but when we consider that our God looketh upon the heart, and that he must regard as mockery every sacrifice of praise in which the heart is wanting, the thought is overwhelming ! What can I say !" His voice fal- tered with emotion, for he had a gentle spirit ; yet he endeavored to be faithful. " What a scene has been presented here to- night ! Who could have believed it 1 We have been wrang- ling and quarrelling about the praises of God ! ! Every one would have been shocked at the bare idea of such proceedings in reference to social prayer. But praise is a heavenly employ- ment. It is the joy of angels and glorified spirits in the presence of God. Is praise to be regarded as an employment, less hal- lowed, less solemn, less momentous, than that of prayer, which will forever cease as we enter the presence-chamber above ! My friends and brethren, I am distressed for you. What can I say ! Could we realize the weight of responsibility which is assumed by every ostensible worshipper ; could we regard the solemn office of praise as angels regard it, and as God our Saviour regards it, how different would be our feelings, and 153 OLD FOLKS VS. YOUNG. motives, and deliberations ! But I must leave you ; I can do you no good." He would have added more, but could not. For more than three days he had labored among that people with Christian faithfulness ; and such a result had grieved him to the heart. They loved him. They witnessed his emotion ; and when with trembling steps he silently withdrew, there was shame and blushing in that house. All were silent and thoughtful. Not an individual could hold up his head. Nothing farther was offered, and the meeting closed, as by one consent, in perfect silence. But an impression had been made which was deep and salu- tary. A conference was held by a committee from the two parties, which led to an accommodation. How much there might have been of mutual acknowledgment and regret, did not so distinctly appear. But, as both parties had been in fault, both were desirous of a reconciliation. The matters in dispute were readily adjusted. The young people should be allowed to have instruction of a thorough character ; and the older members should have the privilege of nominating the individual who should be employed. The arrangement was satisfactory. The proffered resignation of the two teachers was now accepted ; and another teacher was procured, whose services were gratify- ing to all. He was a talented man ; and understood the deli- cacy of his position. The school greatly prospered. Both par- ties had a mind for study. The " round-note system" of nota- tion was soon mastered, so that all could read instead of trust- ing to treacherous memories. The leading principles of style were so thoroughly inculcated, as not to be easily forgotten ; and the nature of a chorister's work was made familiar to all ; so that in future there would be no want of leaders to " set the psalm." Nor was the spirit of praise forgotten. Every evening OLD FOLKS VS. YOUNG. 159 bore witness to its presence ; and a conviction of its importance was cherished and deepened by occasional exercises, which were specially designed for" its promotion. All these advantages, to the delight of the people, had been gained in a few short months, without any material interference with business transactions ; and now, at the termination of the school, weekly rehearsals were established, which served to prevent the music from de- clining till a future period of instruction should ensue. The thorough training which was received, both as to the manner and spirit of praise, formed a new era in the musical history of that village. Thenceforward the singing of that church was distinguished for accuracy, for taste, for good adap- tation and expression, and above all for devotional interest. Rehearsals were conducted with Christian propriety, and the performances at church were no longer deficient in power and solemnity. All difficulties were at an end. Unanimity of feel- ing became permanent. All were now ready to acknowledge the advantage of procuring adequate instruction. The influence of this example was not limited. The successful teacher soon had the pleasure of witnessing the same cheering results in many of the surrounding villages. How important is it, that all efforts relative to the office of praise should be thorough and well directed ! XXVII. DIFFICULTIES IN A CITY CHOIR. "There prevail, at present, two kinds of music, as diverse as their origin — profane and religious." — Sampson. Why should there be so much difficulty in sustaining church music in our large cities ? This important question has been more frequently proposed than satisfactorily answered. Many causes might be mentioned. The mixed character of the popu- lation, embracing so many conflicting habits, opinions, and pre- judices ; the instability of residences ; the same individual sel- dom remaining long in the same locations, or in connection with the same churches ; the numberless circumstances which pre- vent the individuals of a congregation from familiar intercourse with each other; the many counter-attractions which draw away the members of the choir from evening rehearsals ; the fickleness of enterprise, and the impatience and the impulsive- ness which are incident to city life ; and, above all, the strong tide of worldliness which bears away everything before it, ex- tinguishing the fervor of piety and damping the ardor of devo- tion. These are causes sufficiently numerous, one might think, to account for the multitude of failures ; and the mere enumer- ation will suffice to show that they are not easily overcome. Various measures have been adopted for the improvement of church music, which have but ill succeeded. DIFFICULTIES IX A CITY CHOIR. 161 Promiscuous singing in connection with a precentor will of necessity retain its rudeness. Efforts have sometimes been put forth for the instruction of an entire congregation, but few of the people would ever be found at the rehearsals, and the pre- centor himself would perhaps be foremost among the deserters. Voluntary choirs, artistically trained, have proved too unskilful for the satisfaction of citizens who enjoy so many opportunities of witnessing professional talent. A hired quartet too often become emulous of musical distinction ; and a choir partly hired and partly voluntary contains within itself the elements of disunion. A powerful organ overwhelms the voices of an assembly without benefiting them. It "must have an able executant, and the latter perhaps will be too fond of his instrument to ob- serve due moderation. A small instrument neither gives satis- faction in itself, nor keeps the voices in tune. In connection with an undisciplined choir, it is sure to make difficulty. An organist who understands vocal music has occasionally succeed- ed without a leader in sustaining an efficient choir for a consid- erable period of time. Yet, he labors under two special disad- vantages. His best singers will either virtually become lead- ers, and retard the progress of improvement, or, acquiring at length some celebrity for skill in execution, they will be " bought off" to supply deficiencies in other choirs. These various measures are also found to conflict with that general ignorance of such matters which prevails among the in- fluential classes in society. So limited is the information on this entire subject, that the same disastrous experiments will be tried among the different churches a thousand times over, with- out producing a general increase of practical wisdom. Let us go back in our illustrations some thirty years, to a large church standing at a corner in N street. The people 162 DIFFICULTIES IN A CITY CHOIR. were of New England descent, accustomed to sing in connection with a choir. But the one which then occupied the gallery was so feeble, so inefficient, and so ill-ordered, as scarcely to deserve the name. Instead of leading in the exercise, they were over- powered by voices below, that would drag at a fearful distance behind time. The sounds that were started in the gallery would come back, not as gentle reverberations, but as clamorous ac- cumulating echoes, overwhelming the tide of song. All par- ties were dissatisfied, and a school was opened for improve- ment. A Professor appeared as teacher ; the people laughed at his ignorance and rusticity. Another teacher succeeds him, who is more competent. But now the people are too much oc- cupied or too indolent to become* pupils. The school is a fail- ure. The choir have gained in the person of the teacher an ad- ditional voice of some power, but nothing more. But now, for a change, an organ is introduced into the gal- lery ; it is a small one, insufficient to keep the voices in tune or in time. Still, it occupies so considerable a portion of the room above, as to exclude one half of the singers from their seats. Worse and worse ! But " what is the use of voluntary choirs ? Let us have a real artist." 'Tis done. Madame Blank takes her station and sings so beautifully that the people sit as listeners in silent admiration of the artist. But the nov- elty wears off, and they discover that she is far from being de- vout in her deportment. This will never answer. The curtain falls. Scene third presents a new interior with an enlarged gallery, a powerful organ, and a numerous choir of fresh volunteers. But the new organ is as much too powerful as the old one was too weak. Hark, how it swells ! How the arches ring and the foundations tremble ! What a volume of tone — what a tre- mendous sub-bass ! Children are holding their ears, and nerv- DIFFICULTIES IN A CITY CHOIK. 163 ous women suffer with the headache. The voices of the choir are lost in the depths of the harmony ; and the people below can now " sing as they list" without disturbing each other. But, as Sabbaths pass on, the novelty spends itself. Common sense puts the question : Is this right ? Is it not in tact a mere display of loud instrumentation ? So the Puritans of old would have decided, and so ought their descendants to decide. A gen- eral murmuring ensues. The executant must close some of his stops, or relinquish his engagement. He prefers the latter al- ternative. A new executant plays with becoming moderation. But now the rough accents of the undisciplined choir have be- come prominent. " What doleful singing ! What miserable voices, ill-toned, nasal, and dental ! What vulgarities in verbal utterance ! What destitution of taste, of feeling, and express- ion !" The people can neither enjoy the performances of the choir, nor endure their own vociferations. Again the curtain falls. Scene fourth presents a hired quartet, whose voices are pol- ished, well balanced, and powerful. The parties make no pro- fession of piety. They are amateur personators of devotion. This circumstance, so common in such arrangements, is not regarded by the people as very objectionable. The singers do not even bring out with expression the characteristics which appear in the hymns. This was not expected of them. But they " sing well," lead off manfully, and bring up, per force, the lingering accents of the assembly. The music improves. The organist accompanies with judgment and taste. The good peo- ple at last are satisfied ; and the music committee are beginning to bless themselves for having at last hit upon the right expedi- ent. Behold that quartet with pencils in hand ! Are they taking notes of the sermon ? See that small curtain drawn in front of the instrument. Is the organist engaged in serious 164 DIFFICULTIES IN A CITY CHOIR. meditation *? Ah, no ! The chief singers are scribbling non- sense in the house of God ; and the organist has slipped through a back door for the purpose of sharpening his invention at a porter house ! The secret is out, and the people are indignant. Once more the curtain falls. Scene fifth presents a talented chorister with three hired sing- ers, forming an occasional quartet in the midst of a select choir of volunteers, whose voices have been much improved by instruction and practice. The training has been artistic, and the singers seem equal to the task they have undertaken. They are not worshippers ; and are not burdened with profound views of responsibility. The volunteers " intend to sustain the music," and to " gain much credit" by the achievement. The effort seems to prosper. The vocal utterances are distinct and mu- sical. The new organist accompanies delightfully ; and the alternation of soli and tutti passages in connection with the dy- namic renderings of the melody, produce a most charming effect. " What excellent music : the finest in the city ! What an ef- fective soprano singer ; what a fine alto ; what a noble bass ; and what a powerful leader!" The people show themselves highly pleased ; but, unfortunately, the volunteers do not share in the commendation. They labor gratuitously, while those who receive compensation, gain all the credit of the perform- ances. This is too much to be endured. The volunteers are disappointed and disheartened. They grow restless and impa- tient, and remiss in their attendance upon rehearsals. They accuse the leader of partiality, and the salaried ones of taking " too many airs" upon themselves. This calls forth recrimina- tions. The bitterness of jealously increases ; and ere six months have ended, the malcontents begin to retire from the service in disgust. The people take sides in the controversy. Both par- ties are blamed; and now that the volunteers have disappeared, DIFFICULTIES IN A CITY CHOIE. 165 the remaining quartet seem less satisfactory. Popularity ceases, and the scene closes at the end of the year's engagement. Changes upon changes ensue. Years fly swiftly in a large city. The restless inhabitants are seldom stationary. They go from church to church with the same facility that they change their dwelling places. And now there is another pastor, and virtually another congregation. All remembrance of the earlier arrangements has disappeared with the floating population who have left ; and those who have supplied their places, are un- wittingly repeating the exploded experiments of earlier times. A few years more, and the people, through some out-breaking weakness in the gallery, are brought to a solemn stand. A public meeting is called. A discussion ensues. The people are divided. Some propose one thing and some another. Deacon Stadtholder arose. He had been a member of that congregation for the last thirty-five years. He recollected all the musical changes which had occurred, and made his comment upon them. Nothing had been stable. Nothing had succeeded since the first abandonment of the congregational method. He had always been opposed to choirs. They never had prospered ; and he was now in favor of returning to the good old way. " But what will become of the people ?" said an extensive pew-owner. " Good music," said one of the trustees, " does much towards filling the pews." " The people will all be disgusted," said an amateur. The pastor arose. " There must be some way of sustaining the music in city congregations," said he, " which will be at- tended with results which are abiding and satisfactory. The subject is properly one of Christian enterprise. Hitherto, in the arrangements, as detailed to-day, it is plain that artistic con- siderations have taken precedence of devotional ones. This has 166 DIFFICULTIES IN A CITY CHOIR. been wrong. We need not wonder at the failures which have occurred. Singers should be worshippers. We have no author- ity for a personated devotion in songs of praise. Such an idea is not contained in the scriptures. In all our arrangements we should remember that God looketh upon the heart. Why- should the cultivation of church music be made a matter of mere taste or convenience, or church policy'? We ought to be influ- enced by more weighty considerations. Psalmody must be made a branch of Christian enterprise ; and we must engage in it with holy, self-denying, personal activity." The pastor's appeal was decisive. He presented a new view of the subject, and held it up in such a light, that the people awoke for the first time to a strong conviction of personal ac- countability. A plan was agreed upon. Influential members in the church were forward in the undertaking. An excellent teacher was provided. Schools and rehearsals were well at- tended, and rightly conducted ; and the pastor was often present to take part in the exercises. A noble effort was now put forth, which was ultimately to be crowned with success. Progress was slow ; for while old habits and prejudices could not at once be overcome ; the accelerating influence of artistic motives was withdrawn. Appointments, too, were often frustrated by conflicting engagements. The labor, and discipline, and practice, had been greater than was first anticipated ; and the congregation at length w r ere becoming impatient. Many were predicting another failure ; and not a few who commenced with ardor, had retired in discouragement. It was time for some public demonstration. A new choir of fifty singers was organized, who met the congregation with a public rehearsal. The exercises were of peculiar interest to those who were spiritually-minded, though the performances, as all could see, were yet imperfect. Little was said against DIFFICULTIES IN A CITY CHOIR. 167 the music, for much weight of personal character was embarked in the enterprise. There was some whispering among ama- teurs, and there were knowing ones among artists and profess- ors, who exchanged significant glances, and some two or three ventured to toss their heads in derision. This was hard to be borne. A few of the more timid ones left the choir, and went to other churches, and several of the more affluent grew weary of effort, and left the rehearsals. The interest was beginning to flag. It was a critical moment. A little matter at that time might have defeated the enterprise. But the excellent pastor was unremitting in his exertions, his encouragements, and his prayers, and there were noble Christian spirits in that choir, who were not to be disheartened or intimidated. The music, through the untiring industry of the singers, be- gan visibly to improve. The people became patient, then at- tentive, and then more deeply interested. Even while the training was yet imperfect, they began to perceive a wide differ- ence between real and representative devotion. The singing was no longer a subject for carping criticism. The choir were solemn personal worshippers ; the people deeply sympathized with them, and united in the exercises with holy delight. Oc- casionally they lifted up their own accents in the full chorus of the assembly, with one heart and one voice. The change thus happily effected, became permanent. The people had learned the right lesson, and troubles were at an end. Thenceforward the choir was easily sustained. Taking a new stand-point of observation, a flood of light was shed over the history of past proceedings. The people concluded that if Christians are to be materially benefited by the songs of Zion, they must make some other sacrifices than those of a pecuniary nature. They must be conversant with the subject, and pre- pare as individuals to bear some part occasionally in the public 168 DIFFICULTIES IN A CITY CHOIR. exercises of praise. The object must be infinitely higher than that of mere musical enjoyment, which though the principal source of attraction at concerts, must here be subordinate. Spiritual advantages in the office of praise, must be sought like other blessings, in the way of God's appointment. And here is the proper solution of the question which has called forth the preceding sketch. It is difficult to sustain church music in large cities, chiefly because so few are willing to make individual efforts and sacrifices, in a truly Christian spirit. Let the people adopt the course which has latterly been pursued by the church in N street, and there need be no fear as to re- sults. But if they persist in the toleration of merely artistic motives and arrangements, they must make up their minds to suffer legitimate consequences. XXVIII. A TALENTED BUT IMMORAL CHORISTER. " That thou shouldest set in order the things that are wanting."— St. Paul. In a charming valley, between two lofty ranges of hills, and on either side of a winding stream, that abounds in " water- privileges," dwell an industrious population, chiefly descendants of New England. The first settlers were from the middling classes in society, active and economical, but more remarkable for good sense, than for sound learning or true refinement. They were a virtuous people. Music was almost their only source of amusement, and during the long winter evenings, they generally sustained an adult singing school. Some thirty years ago, when M books were scarce and dear," the teacher would give manuscript lessons for the singers to copy into their blank-books. The best copyists were the most active in ' ; punching off the music," and those who " punched the most," were sure to learn the fastest ; for being proverbi- ally inquisitive, they were " bound to know" the name and the use of every character which was drawn by their pens. This was a decided advantage, for when books became plenty, the punchers were able to read them. The violoncello and flute at that early period, were the only accompanying instruments at the village church. The one was frequently too flat, and the other was as often too sharp in ref- 8 170 A TALENTED BUT IMMORAL CHORISTER, erence to the proper pitch, till there was a fearful odds between them, and the singers were vacillating with reckless instability between the two extremes. At length the flute gave place to the violin, when the instruments, to the great comfort of the singers, were found to " sag together," so as to produce harmo- ny. But this, in the opinion of some, had too much the appear- ance of " fiddling," and when at length the violin made its ap- pearance at church, the worshippers below were sadly scandal- ized. The gentleman who led on that instrument, however, was no vocalist, and there was not a chorister to supply his place. What was to be done ? After a free consultation, it was satis- factorily arranged, that the " fiddle should always be played wrong end upward." There was more philosophy in this de- cision than at first appears; for when the instrument stood downward, like a small bass-viol, it no longer brought to mind associations of the ball-room, and the low tavern. Mental as- sociations have great influence in music. Even in these wiser days, when one sees a choir led by two upstanding violinists, with shaking heads and flourishing elbows, he can almost wish for a re-enactment of that old decision. The choir in the village church continued to prosper till the violinist was succeeded by a vocal leader, who, though a tal- ented man, was suspected of secret immoralities. Probably the suspicions were groundless, but they led some of the best singers to absent themselves from rehearsals and performances. The singers, in consequence, soon acquired such an inveterate "habit of flatting," that uniformly as often as once in two or three stanzas of a psalm or hymn, the " pitch would have to be sounded" anew. This was a sad annoyance, especially in sea- sons of public worship. Recourse was had to a teacher. The latter, though a man of skill, had never met with such a diffi- culty. The music seemed uncommonly harmonious, but the A TALENTED BUT IMMORAL CHORISTER. 171 whole choir would sink together by insensible degrees, at the rate of a semi-tone for every stanza. What could be the cause 1 The scale of nature, when absolutely perfect, has a slight downward tendency, but nothing, when compared with this. The slackening of viol strings will sometimes occasion a gradual depression of the pitch, but not so regular and so con- stant as the one in question. Nor could the two causes com- bined, produce so great a practical result. The teacher was perplexed. He listened again, and again bethought himself. One single error in intonation he had no- ticed. The seventh of the scale was uniformly turned too high. To correct this interval, he supposed, might aggravate the diffi- culty ; for when all the intervals were sinking at such a rate, why should the seventh be farther depressed ? But, as every other expedient had failed, he took to task the interval in ques- tion, with about as much hope as the sailor had who threw his last cap at the thievish monkeys, and regained through their mimicking those which had been previously stolen. The expe- dient was successful. Tuning the seventh too high had led the voices uniformly downward. Depressing this one interval to its true relative pitch, prevented the others from sinking ; and thus the teacher's task was accomplished. The solution of this problem is left to the speculative theo- rist. The experiment may be of use to teachers and choristers. The exercises were all in the major scale. Tuning the third and fourth of that scale a little too high, has usually an upward tendency, while a similar elevation of the seventh interval leads to a gradual depression of the pitch. As these faults are more or less prevalent among vocalists, they may be considered as the chief cause of instability in the pitch. But there is a more important chapter in the history of this choir. Talent improved. Taste became refined. As years 158 OLD FOLKS VS. YOUNG. motives, and deliberations ! But I must leave you ; I can do you no good." He would have added more, but could not. For more than three days he had labored among that people with Christian faithfulness ; and such a result had grieved him to the heart. They loved him. They witnessed his emotion; and when with trembling steps he silently withdrew, there was shame and blushing in that house. All were silent and thoughtful. Not an individual could hold up his head. Nothing farther was offered, and the meeting closed, as by one consent, in perfect silence. But an impression had been made which was deep and salu- tary. A conference was held by a committee from the two parties, which led to an accommodation. How much there might have been of mutual acknowledgment and regret, did not so distinctly appear. But, as both parties had been in fault, both were desirous of a reconciliation. The matters in dispute were readily adjusted. The young people should be allowed to have instruction of a thorough character ; and the older members should have the privilege of nominating the individual who should be employed. The arrangement was satisfactory. The proffered resignation of the two teachers was now accepted ; and another teacher was procured, w T hose services were gratify- ing to all. He was a talented man ; and understood the deli- cacy of his position. The school greatly prospered. Both par- ties had a mind for study. The " round-note system" of nota- tion was soon mastered, so that all could read instead of trust- ing to treacherous memories. The leading principles of style were so thoroughly inculcated, as not to be easily forgotten ; and the nature of a chorister's work was made familiar to all ; so that in future there would be no want of leaders to " set the psalm." Nor was the spirit of praise forgotten. Every evening OLD FOLKS VS. YOUNG. 159 bore witness to its presence ; and a conviction of its importance was cherished and deepened by occasional exercises, which were specially designed for - its promotion. All these advantages, to the delight of the people, had been gained in a few short months, without any material interference with business transactions ; and now, at the termination of the school, weekly rehearsals were established, which served to prevent the music from de- clining till a future period of instruction should ensue. The thorough training which was received, both as to the manner and spirit of praise, formed a new era in the musical history of that village. Thenceforward the singing of that church was distinguished for accuracy, for taste, for good adap- tation and expression, and above all for devotional interest. Rehearsals were conducted with Christian propriety, and the performances at church were no longer deficient in power and solemnity. All difficulties were at an end. Unanimity of feel- ing became permanent. All were now ready to acknowledge the advantage of procuring adequate instruction. The influence of this example was not limited. The successful teacher soon had the pleasure of witnessing the same cheering results in many of the surrounding villages. How important is it, that all efforts relative to the office of praise should be thorough and well directed ! XXVII. DIFFICULTIES IX A CITY CHOIR. "There prevail, at present, two kinds of music, as diverse as their origin— profane and religious." — Sampson. Why should there be so much difficulty in sustaining church music in our large cities 1 This important question has been more frequently proposed than satisfactorily answered. Many causes might be mentioned. The mixed character of the popu- lation, embracing so many conflicting habits, opinions, and pre- judices ; the instability of residences ; the same individual sel- dom remaining long in the same locations, or in connection with the same churches ; the numberless circumstances which pre- vent the individuals of a congregation from familiar intercourse with each other; the many counter-attractions which draw away the members of the choir from evening rehearsals ; the fickleness of enterprise, and the impatience and the impulsive- ness which are incident to city life ; and, above all, the strong tide of worldliness which bears away everything before it, ex- tinguishing the fervor of piety and damping the ardor of devo- tion. These are causes sufficiently numerous, one might think, to account for the multitude of failures ; and the mere enumer- ation will suffice to show that they are not easily overcome. Various measures have been adopted for the improvement of church music, which have but ill succeeded. DIFFICULTIES IN A CITY CHOIR. 161 Promiscuous singing in connection with a precentor will of necessity retain its rudeness. Efforts have sometimes been put forth for the instruction of an entire congregation, but few of the people would ever be found at the rehearsals, and the pre- centor himself would perhaps be foremost among the deserters. Voluntary choirs, artistically trained, have proved too unskilful for the satisfaction of citizens who enjoy so many opportunities of witnessing professional talent. A hired quartet too often become emulous of musical distinction ; and a choir partly hired and partly voluntary contains within itself the elements of disunion. A powerful organ overwhelms the voices of an assembly without benefiting them. It 'must have an able executant, and the latter perhaps will be too fond of his instrument to ob- serve due moderation. A small instrument neither gives satis- faction in itself, nor keeps the voices in tune. In connection with an undisciplined choir, it is sure to make difficulty. An organist who understands vocal music has occasionally succeed- ed without a leader in sustaining an efficient choir for a consid- erable period of time. Yet, he labors under two special disad- vantages. His best singers will either virtually become lead- ers, and retard the progress of improvement, or, acquiring at length some celebrity for skill in execution, they will be " bought off" to supply deficiencies in other choirs. These various measures are also found to conflict with that general ignorance of such matters which prevails among the in- fluential classes in society. So limited is the information on this entire subject, that the same disastrous experiments will be tried among the different churches a thousand times over, with- out producing a general increase of practical wisdom. Let us go back in our illustrations some thirty years, to a large church standing at a corner in N street. The people 162 DIFFICULTIES IN A CITY CHOIR. were of New England descent, accustomed to sing in connection with a choir. But the one which then occupied the gallery was so feeble, so inefficient, and so ill-ordered, as scarcely to deserve the name. Instead of leading in the exercise, they were over- powered by voices below, that would drag at a fearful distance behind time. The sounds that were started in the gallery would come back, not as gentle reverberations, but as clamorous ac- cumulating echoes, overwhelming the tide of song. All par- ties were dissatisfied, and a school was opened for improve- ment. A Professor appeared as teacher ; the people laughed at his ignorance and rusticity. Another teacher succeeds him, who is more competent. But now the people are too much oc- cupied or too indolent to become* pupils. The school is a fail- ure. The choir have gained in the person of the teacher an ad- ditional voice of some power, but nothing more. But now, for a change, an organ is introduced into the gal- lery ; it is a small one, insufficient to keep the voices in tune or in time. Still, it occupies so considerable a portion of the room above, as to exclude one half of the singers from their seats. Worse and worse ! But " what is the use of voluntary choirs? Let us have a real artist." 'Tis done. Madame Blank takes her station and sings so beautifully that the people sit as listeners in silent admiration of the artist. But the nov- elty wears off, and they discover that she is far from being de- vout in her deportment. This will never answer. The curtain falls. Scene third presents a new interior with an enlarged gallery, a powerful organ, and a numerous choir of fresh volunteers. But the new organ is as much too powerful as the old one was too weak. Hark, how it swells ! How the arches ring and the foundations tremble! What a volume of tone — what a tre- mendous sub-bass ! Children are holding their ears, and nerv- DIFFICULTIES IX A CITY CHOIR. 163 ous -women suffer with the headache. The voices of the choir are lost in the depths of the harmony ; and the people below can now t; sing as they list" -without disturbing each other. But, as Sabbaths pass on. the novelty spends itself. Common sense puts the question : Is this right ? Is it not in tact a mere display of loud instrumentation ? So the Puritans of old would have decided, and so ought their descendants to decide. A gen- eral murmuring ensues. The executant must close some of his stops, or relinquish his engagement. He prefers the latter al- ternative. A new executant plays with becoming moderation. But now the rough accents of the undisciplined choir have be- come prominent. "What doleful singing! What miserable voices, ill-toned, nasal, and dental ! What vulgarities in verbal utterance ! What destitution of taste, of feeling, and express- ion !" The people can neither enjoy the performances of the choir, nor endure their own vociferations. Again the curtain falls. Scene fourth presents a hired quartet, whose voices are pol- ished, well balanced, and powerful. The parties make no pro- fession of piety. They are amateur personators of devotion. This circumstance, so common in such arrangements, is not regarded by the people as very objectionable. The singers do not even bring out with expression the characteristics which appear in the hymns. This was not expected of them. But they u sing well," lead off manfully, and bring up, per force, the lingering accents of the assembly. The music improves. The organist accompanies with judgment and taste. The good peo- ple at last are satisfied ; and the music committee are beginning to bless themselves for having at last hit upon the right expedi- ent. Behold that quartet with pencils in hand ! Are they taking notes of the sermon ? See that small curtain drawn in front of the instrument. Is the organist engaged in serious 164 DIFFICULTIES IN A CITY CHOIR. meditation ? Ah, no ! The chief singers are scribbling non- sense in the house of God ; and the organist has slipped through a back door for the purpose of sharpening his invention at a porter house ! The secret is out, and the people are indignant. Once more the curtain falls. Scene fifth presents a talented chorister with three hired sing- ers, forming an occasional quartet in the midst of a select choir of volunteers, whose voices have been much improved by instruction and practice. The training has been artistic, and the singers seem equal to the task they have undertaken. They are not worshippers ; and are not burdened with profound views of responsibility. The volunteers " intend to sustain the music," and to " gain much credit" by the achievement. The effort seems to prosper. The vocal utterances are distinct and mu- sical. The new organist accompanies delightfully ; and the alternation of soli and tutti passages in connection with the dy- namic renderings of the melody, produce a most charming effect. " What excellent music : the finest in the city ! What an ef- fective soprano singer ; what a fine alto ; what a noble bass ; and what a powerful leader!" The people show themselves highly pleased ; but, unfortunately, the volunteers do not share in the commendation. They labor gratuitously, while those who receive compensation, gain all the credit of the perform- ances. This is too much to be endured. The volunteers are disappointed and disheartened. They grow restless and impa- tient, and remiss in their attendance upon rehearsals. They accuse the leader of partiality, and the salaried ones of taking " too many airs" upon themselves. This calls forth recrimina- tions. The bitterness of jealously increases ; and ere six months have ended, the malcontents begin to retire from the service in disgust. The people take sides in the controversy. Both par- ties are blamed; and now that the volunteers have disappeared, DIFFICULTIES IN A CITY CHOIR. 165 the remaining quartet seem less satisfactory. Popularity ceases, and the scene closes at the end of the years engagement. Changes upon changes ensue. Years fly swiftly in a large city. The restless inhabitants are seldom stationary. They go from church to church with the same facility that they change their dwelling places. And now there is another pastor, and virtually another congregation. All remembrance of the earlier arrangements has disappeared with the floating population who have left ; and those who have supplied their places, are un- wittingly repeating the exploded experiments of earlier times. A few years more, and the people, through some out-breaking weakness in the gallery, are brought to a solemn stand. A public meeting is called. A discussion ensues. The people are divided. Some propose one thing and some another. Deacon Stadtholder arose. He had been a member of that congregation for the last thirty-five years. He recollected all the musical changes which had occurred, and made his comment upon them. Nothing had been stable. Nothing had succeeded since the first abandonment of the congregational method. He had always been opposed to choirs. They never had prospered ; and he was now in favor of returning to the good old way. " But what will become of the people '?" said an extensive pew-owner. '- Good music,'' said one of the trustees, " does much towards filling the pews." " The people will all be disgusted," said an amateur. The pastor arose. " There must be some way of sustaining the music in city congregations," said he, " which will be at- tended with results which are abiding and satisfactory. The subject is properly one of Christian enterprise. Hitherto, in the arrangements, as detailed to-day, it is plain that artistic con- siderations have taken precedence of devotional ones. This has 166 DIFFICULTIES IN A CITY CHOIR. been wrong. We need not wonder at the failures which have occurred. Singers should be worshippers. We have no author- ity for a personated devotion in songs of praise. Such an idea is not contained in the scriptures. In all our arrangements we should remember that God looketh upon the heart. Why- should the cultivation of church music be made a matter of mere taste or convenience, or church policy? We ought to be influ- enced by more weighty considerations. Psalmody must be made a branch of Christian enterprise ; and we must engage in it with holy, self-denying, personal activity." The pastor's appeal was decisive. He presented a new view of the subject, and held it up in such a light, that the people awoke for the first time to a strong conviction of personal ac- countability. A plan was agreed upon. Influential members in the church were forward in the undertaking. An excellent teacher was provided. Schools and rehearsals were well at- tended, and rightly conducted ; and the pastor was often present to take part in the exercises. A noble effort was now put forth, which was ultimately to be crowned with success. Progress was slow ; for while old habits and prejudices could not at once be overcome ; the accelerating influence of artistic motives was withdrawn. Appointments, too, were often frustrated by conflicting engagements. The labor, and discipline, and practice, had been greater than was first anticipated ; and the congregation at length were becoming impatient. Many were predicting another failure ; and not a few who commenced with ardor, had retired in discouragement. It was time for some public demonstration. A new choir of fifty singers was organized, who met the congregation with a public rehearsal. The exercises were of peculiar interest to those who were spiritually-minded, though the performances, as all could see, were yet imperfect. Little was said against DIFFICULTIES IN A CITY CHOIR. 167 the music, for much weight of personal character was embarked in the enterprise. There was some whispering among ama- teurs, and there were knowing ones among artists and profess- ors, who exchanged significant glances, and some two or three ventured to toss their heads in derision. This was hard to be borne. A few of the more timid ones left the choir, and went to other churches, and several of the more affluent grew weary of effort, and left the rehearsals. The interest was beginning to flag. It was a critical moment. A little matter at that time might have defeated the enterprise. But the excellent pastor was unremitting in his exertions, his encouragements, and his prayers, and there were noble Christian spirits in that choir, who were not to be disheartened or intimidated. The music, through the untiring industry of the singers, be- gan visibly to improve. The people became patient, then at- tentive, and then more deeply interested. Even while the training was yet imperfect, they began to perceive a wide differ- ence between real and representative devotion. The singing was no longer a subject for carping criticism. The choir were solemn personal worshippers ; the people deeply sympathized with them, and united in the exercises with holy delight. Oc- casionally they lifted up their own accents in the full chorus of the assembly, with one heart and one voice. The change thus happily effected, became permanent. The people had learned the right lesson, and troubles were at an end. Thenceforward the choir was easily sustained. Taking a new stand-point of observation, a flood of light was shed over the history of past proceedings. The people concluded that if Christians are to be materially benefited by the songs of Zion, they must make some other sacrifices than those of a pecuniary nature. They must be conversant with the subject, and pre- pare as individuals to bear some part occasionally in the public 168 DIFFICULTIES IN A CITY CHOIR. exercises of praise. The object must be infinitely higher than that of mere musical enjoyment, which though the principal source of attraction at concerts, must here be subordinate. Spiritual advantages in the office of praise, must be sought like other blessings, in the way of God's appointment. And here is the proper solution of the question which has called forth the preceding sketch. It is difficult to sustain church music in large cities, chiefly because so few are willing to make individual efforts and sacrifices, in a truly Christian spirit. Let the people adopt the course which has latterly been pursued by the church in N street, and there need be no fear as to re- sults. But if they persist in the toleration of merely artistic motives and arrangements, they must make up their minds to suffer legitimate consequences. XXVIII. A TALENTED BUT IMMORAL CHORISTER. ■ That thou shouldest set in order the things that are wanting."— St. Paul. In a charming valley, between two lofty ranges of hills, and on either side of a winding stream, that abounds in " water- privileges," dwell an industrious population, chiefly descendants of New England. The first settlers were from the middling classes in society, active and economical, but more remarkable for good sense, than for sound learning or true refinement. They were a virtuous people. Music was almost their only source of amusement, and during the long winter evenings, they generally sustained an adult singing school. Some thirty years ago, when u books were scarce and dear," the teacher would give manuscript lessons for the singers to copy into their blank-books. The best copyists were the most active in ' ; punching off the music," and those who " punched the most," were sure to learn the fastest ; for being proverbi- ally inquisitive, they were " bound to know" the name and the use of every character which was drawn by their pens. This was a decided advantage, for when books became plenty, the punchers were able to read them. The violoncello and flute at that early period, were the only accompanying instruments at the village church. The one was frequently too flat, and the other was as often too sharp in ref- 8 170 A TALENTED BUT IMMORAL CHORISTER. erence to the proper pitch, till there was a fearful odds between them, and the singers were vacillating with reckless instability between the two extremes. At length the flute gave place to the violin, when the instruments, to the great comfort of the singers, were found to " sag together," so as to produce harmo- ny. But this, in the opinion of some, had too much the appear- ance of " fiddling," and when at length the violin made its ap- pearance at church, the worshippers below were sadly scandal- ized. The gentleman who led on that instrument, however, was no vocalist, and there was not a chorister to supply his place. What was to be done ? After a free consultation, it was satis- factorily arranged, that the " fiddle should always be played wrong end upward." There was more philosophy in this de- cision than at first appears; for when the instrument stood downward, like a small bass-viol, it no longer brought to mind associations of the ball-room, and the low tavern. Mental as- sociations have great influence in music. Even in these wiser days, when one sees a choir led by two upstanding violinists, with shaking heads and flourishing elbows, he can almost wish for a re-enactment of that old decision. The choir in the village church continued to prosper till the violinist was succeeded by a vocal leader, who, though a tal- ented man, was suspected of secret immoralities. Probably the suspicions were groundless, but they led some of the best singers to absent themselves from rehearsals and performances. The singers, in consequence, soon acquired such an inveterate "habit of flatting," that uniformly as often as once in two or three stanzas of a psalm or hymn, the " pitch would have to be sounded" anew. This was a sad annoyance, especially in sea- sons of public worship. Recourse was had to a teacher. The latter, though a man of skill, had never met with such a diffi- culty. The music seemed uncommonly harmonious, but the A TALENTED BUT IMMORAL CHORISTER. 171 whole choir would sink together by insensible degrees, at the rate of a semi-tone for every stanza. What could be the cause ? The scale of nature, when absolutely perfect, has a slight downward tendency, but nothing, when compared with this. The slackening of viol strings will sometimes occasion a gradual depression of the pitch, but not so regular and so con- stant as the one in question. Nor could the two causes com- bined, produce so great a practical result. The teacher was perplexed. He listened again, and again bethought himself. One single error in intonation he had no- ticed. The seventh of the scale was uniformly turned too high. To correct this interval, he supposed, might aggravate t'.:e diffi- culty ; for when all the intervals were sinking at such a rate, why should the seventh be farther depressed ? But, as every other expedient had failed, he took to task the interval in ques- tion, with about as much hope as the sailor had who threw his last cap at the thievish monkeys, and regained through their mimicking those which had been previously stolen. The expe- dient was successful. Tuning the seventh too high had led the voices uniformly downward. Depressing this one interval to its true relative pitch, prevented the others from sinking ; and thus the teacher's task was accomplished. The solution of this problem is left to the speculative theo- rist. The experiment may be of use to teachers and choristers. The exercises were all in the major scale. Tuning the third and fourth of that scale a little too high, has usually an upward tendency, while a similar elevation of the seventh interval leads to a gradual depression of the pitch. As these faults are more or less prevalent among vocalists, they may be considered as the chief cause of instability in the pitch. But there is a more important chapter in the history of this choir. Talent improved. Taste became refined. As years 172 A TALENTED BUT IMMORAL CHORISTER. rolled on, the people were increasing in learning and refinement. An educated man, who had fine talents for music, volunteered his services as chorister. In this situation, he gained many ar- dent friends, and for awhile had the address to keep them. He sung sweetly, had a kind and winning deportment, and led the singing with great acceptance. But, unfortunately, the idol of the choir at length become vicious. The matter was no secret. His conduct was sometimes scandalous in the extreme. Yet, as he would appear to be sorry after every new offence, the choir pitied him, and mistaking his hypocrisy for ingenuous re- gret, were unwilling to discard him. This caused an unpleas- ant division among the parishioners. Some were for displacing him, and others were for retaining his services. He had skill, and he was amiable. Many good singers would have their fail- ings. No one else could " lead the singers half so well," and, after all, he was " naturally a very clever fellow." Up to this period, the volunteer choir had always been left to their own direction. They understood not the responsibilities of their position; and the present period of general excitement was no time for the inculcation of specific, moral, and religious ideas. The singers regarded themselves as so many instruments of a voluntary band, which needed only to be kept in order and skilfully directed. How could they spare their talented lead- er ? His aid was indispensable. There was " no one like him." Deeply did the pastor and the elders regret that the influence of special religious teaching had been so long withholden from the singers. The choir had been so long indulged and neglect- ed, that their liberty of self-direction had assumed the import- ance of a prescriptive right. There was real trouble in that village. Who could tell how it was to be prevented, or where it would end 1 The peace of society was seriously invaded, and things were fast tending towards a dismemberment. A TALENTED BUT IMMORAL CHORISTER. 173 The conflict was long and painful ; but a crisis was at hand. Another sad outbreak of the man of loose morals drove him from the village in everlasting disgrace, just in time to humble the singers, and restore tranquillity to the agitated parishioners. The sad occurrence was overruled for good. After such fla- grant abuses had prepared the way for the application of a rem- edy, it was easy to perceive what instructions were needed. The time had come when the nature of praise as a religious duty could be better appreciated and more happily realized in practice. There was no rashness, no denunciation. There were no overturnings in management. The church awoke to duty ; and some of its most important members united with the ex- isting choir, and, under the Divine blessing, gave tone, as to manner and spirit, to the rehearsals and performances. Many a sad disaster might have been prevented by timely, judicious instruction. XXIX. FUX AT SISGING SCHOOLS. *It is the nature of truth sooner or later to command recognition." Washington Alston. The famous affair of throwing the tea overboard, which pre- ceded the revolutionary struggle in this country, had in some respects its counterpart in musical matters. Foreign music must be thrown aside ; and Americans, " hit or miss, must make their own composures.' 1 '' Many a luckless wight put his hand to the work with about as much skill as a tolerable blacksmith might have displayed in watch-making. Such music, however, was not rejected. It was something new ; something lively ; something not derived from the sovereignties of the old world. At that time there was no musical science in the country. A sixpenny gamut of four diminutive pages contained the usual amount of knowledge. Some two or three copies of " Tansor's Musical Grammar" were in the hands of individuals who kept them as choice relics. Yet the wonderful book was so misera- ble a thing, that every tyro would now turn it into ridicule. The book was the offspring of ignorance, sure to lead every one astray who should submit to its guidance. Some curious publications of church music appeared. Bill- ings led the way with a volume full of scriptural parodies wrought into anthems ; such as, " And the enemy said, let us FUN AT SINGING SCHOOLS, 175 draw a line from York to Canada," and others still more ridic- ulous.* Another author took the ground that, since there could be no discords in heaven, there ought to be none upon earth. His mission was to reduce all harmonies into the simplest con- cords, irrespective of forbidden sequences. Another issued a work in characters, which finally obtained the name of " dunce notes ;" and another still, in which the lines of the staff were wholly excluded. Such " Yankee productions" are not without imitations at the present day, when ignorance can no longer be plead as an apology. The psalm tunes of that period were rude and artless ; and most of them contained passages of broken time which did great violence to the language. Preparations and resolutions ; cadences, modulations, and rhythmic forms, were things un- known. The minor scale was usually without its accidentals. Chords were improperly constructed, and thrown into ambigu- ous and forbidden relations ; and the melody was low, irregular, and fragmentary. In short, every rule of composition was vio- lated, for the good reason that rules were not understood. Yet the music gave satisfaction, and in many instances became so strongly connected with devotional sentiments, as to continue long in favor. The style of singing was in keeping with the character of the tunes. Distinct utterance was never attempted. Accents and emphases were disregarded. Time was imperfect; and the voice was supposed to be developed and tuned by an instinct of nature. All that is now understood by vocalization was then unknown. During those long years of musical practice, adult singing schools became the favorite scenes of amusement. They gave the young people, during the winter evenings, many an oppor- * Some of his later productions had less rudenea*. 176 FUN AT SINGING SCHOOLS. tunity for social converse and rustic gayety. Occasional ir- regularities excited no surprise. " Young folks, 7 ' it was said, "must sometimes be together; they will have their amuse- ments, and music is of all things the most harmless. It may do them good and be beneficial to society." Evils incidentally connected with the schools were to be patiently endured, as be- yond the possibility of prevention. Notions and practices, which were then very prevalent, have not yet wholly disap- peared. The choir in the first church in S , may be taken as a fair specimen of the times we are describing. As often as once in two years, a regular singing school was maintained during the winter months, for three afternoons and evenings in a week. Afternoons were devoted to the children. Two of the evenings were spent at different districts in school houses. The third was devoted to a general meeting in the village ball-room, on Sabbath evenings, which were not then regarded as holy time. What could be more suitable than to u follow up" the last hours of the holy day with the practice of psalmody ? The young people were in their best dress. They were not fatigued with labor ; and a little recreation appeared quite reasonable after the "confinement and the restraints" of the day. All who could u raise the eight notes" were " natural singers," entitled to the privileges of the school ; the rest were " spectators." None but special geniuses would learn to read music. That was the business of teachers and choristers. The pupils sought amusement, and paid as little attention to rules as possible. The school had nothing to do with religious order. It was usu- ally opened by the odd canon — " Welcome, welcome every guest, Welcome to our music feast, Music ia our only cheer,"